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CjQEffilGHT DEPOSIT. 











4 







The Three Golden Hairs 

(More Plays for Children) 



THE THREE 
GOLDEN HAIRS 

(More Plays for Children) 

BY 

ETHEL SIDGWICK 



BOSTON 

SMALL, MAYNARD & COMPANY 

PUBLISHERS 

c \z,'di j 





> 


0 


Copyright, 1922 

BY SMALL, MAYNARD & COMPANY 
(Incorporated) 


Printed in the United States of America 


THE MURRAY PRINTING COMPANY 
CAMBRIDGE, MASS. 


APR-8'22 


•0>CI. A6614 85 



CONTENTS 


The Three Golden Hairs ... 1 

The Robber Bridegroom. ... 53 


Applications for permission to perform either of these 
plays should he made to the Publishers 


The Three Golden Hairs 

\ 

(After Grimm) 


CHARACTERS. 

(May be acted by twelve, with chorus .) 

Starling, a lucky boy. 

King Crow of Croatia. 

Queen Wimple, his wife. 

Princess Pearl, his daughter. 

Eels kin, his Chancellor. 

Moll, Starling’s mother. 

Wat the Tinker. These parts may be 

Fag the Ferryman. doubled. 

Two Burgomasters. These parts may be 
Two Outlaws. doubled. 

Horn, a Black Enchanter. 

Hedda, his mother. 

Miller’s Wife. 

Duchess Ann, the Queen’s Lady. 

Chorus of Prentices, Girls, Foresters, Imps 
and River-fairies. 

[Moll, Fag, Hedda and Outlaws, as well as 
Chorus, should be able to sing fairly.] 

SCENES. 

ACT I. 

Scene I. Riverside, near a village. 
Scene II. The Mill. 

Scene III. Woods near Palace. 

ACT II. 

Scene I. Same as last. 

Scene II. The Ferry. 

Scene III. Horn’s Kitchen. 

Scene IV. Same as I. above. 


THE 

THREE GOLDEN HAIRS 

ACT I. 

Scene I.— Riverside, near a village. Rushes down 
R. where Wat, with a large basket, is fishing, 
back turned. Distant bells are heard as the 
scene opens. 

Enter Eelskin, L., carrying a palette. 

Eel. Hum! We approach humanity. Yonder 
church-bells mark a village, surely, where we may 
break our fast. I will warn his Majesty — ah! 

[,4s he turns, King follows him in, L. 
He has a cloak, wideawake hat, 
and sheaf of brushes. 

Sir, this is a village. 

King. One of our hamlets—ha! 

Eel. Where your Highness would, no doubt, 
prefer to be unknown. 

King. Well? 

Eel. You — we — must prepare our minds to 
dissemble. 

King. Am I not incognito? You bore me, 
Eelskin! 

Eel. Sir, it is not a matter of dress alone. Three 
times since we left the capital you have forgotten 
yourself and your chosen character. 

King. Eelskin, for such as you, it is easy to 


10 THE THREE GOLDEN HAIRS [act i 


feign to be base: for us, impossible. My disguise 
as a Landscape-painter is well-nigh perfect, as is 
yours of my intimate friend. But would you expect 
me to adopt the vulgar manner of the Art schools, 
and to use their tongue? It is folly! 

Eel. Quite so, Majesty. Equal folly that you, 
King Crow of Croatia, should feign friendship for 
such as I. 

King. True. Yet recollect: it is for high pur¬ 
poses of State that I travel thus privily through 
my kingdom. I make a habit of it, once a year, 
that I may surprise secrets, the seeds of sedition 
and discontent. For this I have ordained the 
incognito, and at all costs,— to you, Eelskin — it 
must be preserved. Ahem! I am a Landscape- 
painter — 

Eel. And I your intimate friend. 

King. Be intimate: else, minion, your head will 
be the forfeit. What is that? 

[He catches sight of Wat's back. 

Eel. It looks like a villager. 

King. One of our subjects. Speak to it. 

Eel. What are you doing, fellow? 

Wat. [sulky] Fishin'. 

Eel. Have you caught anything? 

[Looks in basket. 

Wat. Naw. But a shall. 

Eel. What village is that? 

Wat. Ourn. 

Eel. What are the bells for? A wedding? 

Wat. A christening. There's a luck-child born. 
Wish I was him, I do: I mought catch something. 
[Throws line.] They do say, when he's fower- 
teen, he’ll marry the King's daughter. 

King. What? Who says? Who ventures- 

[Eelskin makes signs to him to be cautious. 




sc. i] THE THREE GOLDEN HAIRS 11 


Eel . My good man, King Crow has not got a 
daughter. 

Wat. Well, King Crow’ll have to get un for to 
fit our luck-child. He, he! [Sniggers.] He’s 
ourn, Moll’s and mine. 

Eel . And who may you be? 

Wat. I’m the Tinker. 

King, [breaks out] Who dares foretell this? 
A Tinker’s son, forsooth! We will rase this village 

to the ground. Ho, there, my Forest-guards- 

[Wat turns slowly, gaping. Enter 
Moll, L., with his dinner in a 
handkerchief. 

Wat. What’s wrong with un? Touched, is he? 
Why, here she is. [To Moll.] Where’s the lucky 
brat, Moll? 

Moll. [nodding backward carelessly] Out 
yonder. 

Wat. What, you left him on the grass? 

Moll. His luck’ll look after him, never fear. 

[She takes dinner R., and lays it out 
on the grass. Eelskin advances, 
simpering. 

Eel. Do I see the proud mother of the lucky 
babe? 

Moll. He’s mine, yes. What’s your business? 

King. Woman, we would see this child. 

Moll . [to Eelskin] Who’s that? 

Eel. An intimate friend of mine, a Landscape- 
painter. 

Moll. Well, tell him to keep his brushes in his 
mouth. 

Wat. He, he, he! [King fumes, L.] Did 
Parson hold un, Molly? What’s his name? 

Moll. Starling, I called him. 



12 THE THREE GOLDEN HAIRS [act i 


Wat. Well, I’m donnered! There’s a Chrissen 
name to choose! 

Eel. [insinuating'] Rhymes to darling, any¬ 
how. 

Moll, [considering him ] I don’t mind letting 
you have a look at him, if that other will keep 
away. He’s a fine boy, lusty. Hear him yell! 

King. Curse him! 

[Business. Music of song heard. 
Moll goes L. to fetch baby, 
which she puts in fishing-basket, 
C. Wat protests in dumb-show. 
She insists, returns R. and sits 
on grass with Wat at dinner, 
backs half-turned. King and 
Eelskin confer down L. Enter 
River-fairies through rushes up 
R., who dance quietly round baby 
in basket, singing. 

Song, River-fairies. 

Air —“Mowing the Barley.” 

0 sisters neat, with noiseless feet 
About this cradle treading, * 

Though poor and spare the christening-fare, 
Superb shall be the wedding! 

O sisters dear, seek far and near 
A fortune for our darling, 

A dear little bride from the King’s own side, 

To wed with our baby Starling. 

O fortunate stars, in your silver cars, 

Shine softly on our baby, 

Who’ll bless the life of the Tinker’s wife, 

And come to a kingdom, maybe. 


sc. i] THE THREE GOLDEN HAIRS 13 


[They dance off R. still unseen. 
Moll gets up, bids Wat see to 
baby in dumb-show, bends over 
basket, and exit L. Wat looks 
from his ffshing-rod to baby, per¬ 
plexed , 

Wat. Taking my basket! Says Eve not caught 
anything — but a might! — Donnert the wives 
and the babies! 

Eel. [to King aside] Now is the time! I will 
make terms with this blockhead. No doubt, for a 
bottle of beer, he will sell us the child, and then 
— trust my cunning! 

[He draws Wat out, up R. with 
elaborate action. 

King, [alone] Poor Eelskin, he thinks himself 
very wise; but it would have been far simpler to 
rase the village. Its general tone, to our mind, 
is far from satisfactory! [Baby cries.] Cease, 
minion! [Baby cries.] Varlet, would you disobey 
me? [Strain of last music: Baby stops crying.] 
If our child should prove to be a girl — ha! We 
shall have all the strain of marrying her, later 
on. Now, what Prince could be high enough for 
a daughter of ours? There is the son of the King 
of Rookland. [Baby cries.] A plague on the 
pauper-brat, that will not let Royalty reflect in 
peace! 

[Business. He strides to river and 
parts rushes; has an idea; steals 
back and crams lid on the basket; 
swings, and tosses it off the scene. 
A splash is heard — silence. 

Now go and find a King’s daughter to marry 
among the fishes! At least you will no longer 
disturb the State reveries of the King of Croatia! 


14 THE THREE GOLDEN HAIRS [act i 

[He returns to paint , C. Soft music 
of next cradle-song, while he 
stands frowning. Re-enter Eel- 
Skin elaborately, from L. 

Eel. My ruse has succeeded. My plans are 
prospering! My monarch’s well-being is safe in 
my hands! The Tinker, in his cups, proved an 
easy prey. For a hundred crowns he will sell us 
the child — quite inexpensive. 

King. [painting calmly ] You may keep your 
crowns, and I will keep mine. I have put it 
already where it will not trouble us. 

Eel. What? [Dumb-show] Sire, it is murder! 

King. What, may I not dispose of a seditious 
subject as I wish? His brain, seething with pur¬ 
poses perilous to the common weal — his tongue 
wagging perpetually and fatal to our peace, are 
thus rendered innocuous. Ahem! This asp would 
have stung me, had I nourished him. I fling it 
from me [gesture ] and I walk in peace. 

Eel. With your Majesty’s pardon, we had better 
walk hastily. Remember our disguises! I much 
fear you have forgotten your chosen character 
again. If you had allowed me to- 

King. Tut, tut. I hate your buts and bargaining 
— the straight course is best. Still, if it pleases 
you, we will leave a purse of gold here, with the 
rustic’s dinner. This music, Eelskin, [chinks 
purse ] will amply compensate the common herd 
for a crying child! 

[Eelskin shakes head , doubtful. King 
strikes an attitude , C. A woman’s 
scream and scolding heard off L. 
His attitude alters, and he is 
before Eelskin in slinking off 
R.C., where they hide. Re-enter 



sc. i] THE THREE GOLDEN HAIRS 15 

Moll, holding Wat by the ear , 

L. 

Moll. Sold him, have you? Sold our luck for 
a pot of beer! You fuddling, muddling, maunder¬ 
ing, good-for-nothing sot! 

Wat. A hundred crowns! He offered me a 
hundred crowns! 

Moll. And what is that, or his weight in gold 
either. I’ll teach them to offer dirty money for 
a child of mine. Where’s the baby? 

Wat. [gapes about] I left him here. 

Moll. They have stolen him! It’s that ugly 
painter, I’ll be bound, not the smart young spark 
who spoke to me. 

[King prepares to rush out : Eelskin 
restrains him. Moll hunts the 
rushes wildly. Meanwhile Wat 
goes to fishing things and finds 
the purse. 

Wat. Hey, hey, hey! What did a say? A 
fish worth catching has come our way! [He tosses 
her a coin.] Look at that! 

Moll. Ugh! [She flings it in the river.] Who 
wants their gold? It is our luck that is gone, 
and my baby, too. 

[She kneels C. looking R. to river , and sings. 


Song, Moll and River-faeries. 

Air —“Colleen Oge Asthore.” 

Moll. Rushes of the river high, 

Did you hear my baby cry? 

Where is my lucky one? Where is my 
ducky one? 

Is my treasure gone for aye? 


16 THE THREE GOLDEN HAIRS [act i 


Spirits of the river brown, 

Depths where all the stars look down, 
Stars that were glistening over his chris¬ 
tening, 

Do not let my baby drown! 

Fairies. Rushes of the river-marge 

Bowed before a Royal Barge, 

Each little rush-a-by whispered a hush- 
a-by, 

Took your baby in their charge! 

[Moll sinks head on hands, C., while 
Wat stands behind her , mouth 
open. 

[Curtain.] 


Scene II.— The Mill , fourteen years later. Sacks 
about, and straw. Starling discovered, 
dressed as Miller’s Boy , and white with flour. 
He stands R.C. and counts on his fingers. 

Star. One, two, three, four — what comes after 
four? Five!—six, seven, eight, nine, ten — and 
three. What does that come to? I wish Father 
would let me have some teaching, but of course 
the mill leaves him no time. That river there is 
always at it, turning the wheel: and the wheel 
works the mill-stones, that grind the corn, which 
makes the flour for the miller’s boy’s back to carry 
— that’s the worst of it! Ten years and three I 
have been here, since Father picked me out of the 
mill-dam. Ten years and three years [fingers] — 
what’s that? They say I’m a good-grown lad for 
it, whatever it is. Well I never, there’s a mouse! 
[Throws his cap.] Shoo! A mouse at my corn. 
[Horns heard without.] I wish the King and his 


sc. n] THE THREE GOLDEN HAIRS 17 


foresters would come and hunt our mice! That 
would do some good, instead of trampling the 
neighbour’s cornfields! 

[Horn again. Enter Eelskin, L., 
grown fat and panting. 

Eel. You there, boy, did the hare come this 
way? 

Star. Unless he changed into a mouse, he didn’t. 
What’d your hare be doing in our mill? 

Eel. Your mill, sirrah? This is the King’s 
hunting party. Wherever the King deigns to set 
his feet, he alone is lord and master. Must I 
tell you that? [Pants.] Where’s the miller? 

Star. He’s gone to the town, left me in charge. 
We’re busy — can’t stop our work for King or 
Emperor neither. That river there leaves us no 
time. 

Enter King, L., much older and grimmer , while 
Starling is speaking. Eelskin falls back 
awed. Starling turns and sees him. 

King. Who is this infant rebel, this cockerel 
who crows so fine, in one of our Royal mills? 

Star. ’Tis the miller’s mill, sir: and I’m in 
charge. 

King. Indeed? And who are you? 

Star. The miller’s boy. 

King. Miller Max’s son? You? 

Star. Well, he’s my father, and a good father 
too. 

King. How old are you? 

Star. Well, I’ll tell you. Ten and three. You’re 
a gentleman, and bound to know what that is. 

Eel. Thirteen? Nonsense! You must be more 
than that. 

Star. That’s for you to say. Thirteen it may 

B 


18 THE THREE GOLDEN HAIRS [act i 


be, but I’m not saying that it is. Ten and three 
is what I know it is. 

King, [sitting down] Have this little malapert 
whipped. Do you know who I am, boy? 

Star. His Majesty, King Crow, you are. And 
I’m the miller’s boy, Starling. 

[King starts. 

Eel. Starling? And thirteen years? Where 
do you come from? 

Star. That river knows. You listen a bit and 
it’ll tell you, likely. 

[He sulks, down R. Strain of river 
music, Scene /., heard pp. King 
sits and gnaws fingers. Enter 
Miller’s Wife R. much perturbed, 
wiping her hands on apron.] 

Miller’s Wife. Who is it? Who is it? Starling, 
boy, why didn’t you tell me? On a baking¬ 
morning too! They said it was the King himself 

who- [Business . She sees King and curtseys 

low.] Your Majesty! 

Eel. Your poor abode is honoured, goodwife. 
His Highness is surprised, however, you leave such 
boys about. 

Miller’s Wife. Your worship, never heed the 
boy! He was born with a careless tongue, just 
as though he was any young lord, with a fortune 
in front of him, so we often say. 

Eel. Such a tongue may hang well in a lord’s 
mouth, dame, and much amiss in that of a saucy 
knave. 

Miller’s Wife. Truly, Sir. Yet for all his 
tongue, he is a dear good boy, and trustworthy 
as twice his age, though he has had no schooling. 

King. I’ll take him, and school him! 

Miller’s Wife, [eagerly] Will your Majesty? 



sc. II] THE THREE GOLDEN HAIRS 19 


That’s what I always wanted! Why the poor 
child barely knows his numbers; yet so useful 
to us, strong and handy, there’s no sparing him. 

[King and Eelskin consult apart L.C. 
a moment. 

Eel. [politely] Dame, is this youth we saw 
your only son? 

Miller’s Wife. [confidential ] Well, now, to 
speak truth to your Honours — Starling, boy, go 
see to the pies, they’re burning. [Exit Starling 
down i?.] To speak truth to your nobleness, he’s 
not our only son, since he’s not our son at all. 
My man Max picked him out of the mill-dam, 
come Midsummer fourteen years agone. He was 
no age then, but a swaddled babby. [ She wipes 
her eyes.] I had buried my own pretty a week 
before, I had; and my man says to me, “Wife,” 
he says, “this is Providence purely.” [Sofo.] 
And I didn’t at all like his looks at first- 

Eel. What, was he ailing- 

Miller’s Wife. Not he, my lord. He was merry 
and dry, for all he was sailing in a basket. 

King. Curse him. 

Miller’s Wife. He was the bonniest ever seen 
—but my own precious poppet was bonnier. He 
had a way with him as- 

Eel. Ay, but tell us of this one. I suppose he 
was some pauper’s trash, discarded. 

Miller’s Wife, [eagerly] Not he, sir! He’s no 
trash, he’s high-blooded, brave as a hawk, easy, 
perhaps, to the likes of you, but civil and kind 
to the poorest. My Max says often — “I’ll lay 
he’ll take to the highest place.” He’s thought 
of sending him to the King’s city, down the river; 
but the boy would not leave us. Not for all his 
will to see the world, he would not. 





20 THE THREE GOLDEN HAIRS [act i 


[King paces about brooding. Re¬ 
enter Starling down R., and 
whispers to Miller’s Wife. 

What, baked already? And good pies? Well, 
I’ll say for you, you have the lucky fingers. 
[They embrace. King turns, standing L.C.] 

King. Hearken, goodwife. Will you spare 
this lad to us for a day or two, to carry a letter 
for me to the Queen? Her Majesty can best 
judge whether, as a page, he is worth the school¬ 
ing. [To Starling.] But I warn him, when 
he comes to court, to let his tongue hang less 
loosely. They know how to treat spoiled school¬ 
boys there. 

Miller’s Wife. Pardon, your Majesty, but 
spoiled he is not. We never spoiled him. My 
man Max, he said- 

King. A murrain on your man Max! If Max 
the miller knew his place, he would be here to 
greet me. I like not this slinking from my coun¬ 
tenance. It bodes no good. 

Star. How should the miller know which way 
your hare would run? 

Miller’s Wife. Whisht, my dearie-dear! 

Star. Well, he can let my father alone. 

King, [furious] He is no father of yours, you 
base-born son of a travelling Tinker- 

Eel. [anxious] Sir, sir, for heaven’s sake — 
[Whispers.] 

Star. I speak no evil of his father. His father 
was the best king Croatia ever had. 

Eel. The best, sirrah? 

Star, [pensive] The best — at present. 

[Faint river-music heard. King makes 
a desperate gesture, clutches hair. 
Then he writes a letter, rapidly, 
up L. 




sc. II] THE THREE GOLDEN HAIRS 21 


Miller’s Wife. Whisht, my dearie, you would 
not blame a poor gentleman, king or no, that he 
has no son to succeed him. He has the prettiest 
little girl that ever- 

King, [advancing] Peace, woman. [To Star¬ 
ling.] Take this to her Majesty the Queen, 
direct. 

Star. When shall I be back? 

Miller’s Wife, [aside] That will be in the 
King’s good time, dearie. There’s enough ques¬ 
tions: the grand folk don’t care for that. Answers 
is all they want. 

Star. Do they want an answer to this, then? 

King, [evasive] There may be no answer. 

Star. But if there be, where shall I bring it? 
[He fixes King.] Where shall I find the King? 

Eel. [as King is disturbed] The King, boy, 
is always to be found. [He makes signs to 
Miller’s Wife to take Starling away.] 

Star. [c5 she draws him off] I wish I knew 
what was in it. 

Eel. If you dare to tamper- 

Miller’s Wife. He’s safe, my lord: he can’t 
read. 

[Exeunt Starling and Miller’s Wife 
at R. 

King, [aside] Ah, his eyes! [To Eelskin.] 
What did he mean about finding me, Eelskin? 
He will never find me, once that letter is in the 
Queen’s hands! My fair Queen is to be trusted* 

Eel. The Queen is merciful, sir: he is a pretty 
lad. 

King. Merciful? She is obedient! There is 
no request in that missive — directions merely. 
There is my will! 

Eel. J—just so. Majesty. There he goes, 




22 THE THREE GOLDEN HAIRS [act i 


riding a farm-horse. [ Looks off R .] He loses 
no time. He would have made a smart young 
free-lance for the King’s Forest-guard. 

King. [grim\ Know you how I love free¬ 
lances, free tongues, free thoughts, in the forest 
or elsewhere? Know you what becomes of such? 
They swing free enough, I warrant! 

Eel. You mean- 

King. Hist! I feel better, now he is fairly 
gone. Let us hunt the hare. 

[Curtain.] 

Scene III.— Woods near the Palace. Light low, 
but increases during scene , showing a dummy 
body hanging on a tree up L. Starling dis¬ 
covered sleeping on the ground, R.C. Two 
Outlaws seated L. in consultation. 

1st Out. The light grows. 

2nd Out. Know you where we are? 

1st Out. Well enough. These are the grounds 
of the Queen’s Forest-lodge, and yonder is the 
Palace. [Points L. and looks round at Starling.] 
We must leave the young miller now to his journey. 

2nd Out. Ay, it would hardly do for you and 
me to face the King’s Forest-guards, still less 
beard Queen Wimple’s courtiers. When I think 
how many of the fat fools we have robbed, brother, 
since first we took to the woods! 

Out. Ha, ha! I would we could waylay 
his Highness himself: we would tell him some 
things he will never learn, even on his prying 
tours. How he is loved! Why, he is a bye-word 
through the country, the black King Crow. Hist 
— see the fruit of the tree yonder. [Points.] 
That is his work. 



sc. Ill] THE THREE GOLDEN HAIRS 23 


2nd Out. Were it not for the Queen and her 
pretty daughter- 

1st Out. Ay, but they say Crow will marry 
the girl to the King of Rookland, a prince as black 
as himself. It will be an evil day for the country 
when that comes to pass. 

2nd Out. Well, good kings or bad kings, it 
makes small difference to us. We are Fortune’s 
followers, and much good our mistress does us! 
What about this lad, now? 

1st Out. Oh, let him be. 

2nd Out. He’s unarmed, he told us. 

1st Out. I dare say. 

2nd Out. All very well! We have shown him 
his way, since he asked us, beguiled us with his 
tripping tongue. Are we to have nothing for our 
trouble? 

Is* Out. He’s a poor miller’s lad, flour in his 
pockets —what could we make of him? Let him 
be. 

2nd Out. Fat millers have more than flour in 
their pouches, these times! That Max he calls 
father is a wealthy one. How do you know he 
mayn’t have deceived us, as to his errand? 

1$/ Out. Pish, he couldn’t deceive a mouse! 
If he were coming from the town, now, he might 
be worth ferreting. As it is, he is as poor as 
we are: nothing even on his little bones to pick. 

[Starling stirs, putting a hand to his 
breast. 

2nd Out. What’s he holding? 

1st Out. He told us. A packet for the Queen. 

2nd Out. That’s worth money, you’d say. No 
harm in looking at it, anyhow. 

[1st Outlaw shrugs. 2nd Outlaw 
rises y slips letter out of Starling’s 



24 THE THREE GOLDEN HAIRS [act i 


hand and opens it, standing up 
R. by the sleeper. He reads, and 
whistles. 

lrf Out. Hush! What’s the matter? [He 
also rises, and leans to look as 2nd Outlaw comes 
down L. to him.] The Royal Seal! [He takes 
it and reads.] “Let the bearer of this be flogged, 
strangled, and strung up, such that all may be 
over by our return. Signed, Crow of Croatia.” 
Ha! Ha! King Crow at his best! They say well, 
in the country, that he feeds on carrion. [They 
laugh , and look at one another.] Well, he couldn’t 
have been worse off in our hands, brother. What 
do you say? 

2nd Out. Let’s keep, and make a Free Hunts¬ 
man of him. He’d soon take to our trade. 

1st Out. Wait; I have a better idea. Leave 
it to me. [He ponders, takes a quill-pen from his 
cap, and writes on the scroll.] How is that? 

2nd Out. [looking] Ha! Ha! Ha! [Both 
laugh, and 2nd Outlaw reads.] “Let the bearer 
of this be dusted, dressed, and wedded to our 
daughter, so that all may be over by our return. 
Signed, Crow of Croatia.” Ho! ho! ho! Brother, 
you have a pretty wit. That will serve the 
Croaker-King well for his cruelty, and what is 
more, save the country from another carrion-king. 

1st Out. And Princess Pearl from an ugly 
husband. 

[They laugh. Starling stirs, moves, 
claps a hand to his breast, and 
sits up. 

Star. My letter! Where is my letter? 

•lrf Out. Here it is. A little gust of wind 
woke you, which blew it in our direction. A 
breeze often comes at dawn. 


sc. Ill] THE THREE GOLDEN HAIRS 25 


Star. [ rising , and stowing the letter] Dawn, 
is it? Know you where we are? 

ltf Out. Very well. We are in the Queen’s 
forest-grounds, and that way lies the Palace. 

Star. The Palace, so soon? How short the 
road has seemed, since I lost myself and lamed 
my horse! [Sees body on tree and draws back.] 
What is that? 

2nd Out. A common ornament of the woods, 
in good King Crow’s domain. We might well be 
in like case, if he met us. 

Star. You? Then tarry not, but leave me. 
[Holds out hand.] You have come far from home, 
to serve me. 

2nd Out. Home? We have no home. We are 
but poor Free-huntsmen. 

Star. If I were king, I’d ask no better to defend 
me. 

Out. [aside] Who is this child? 

2nd Out. Luck’s child, he calls himself. 

Out. Luck’s child! Well, we have prodded 
lazy Luck for him, eh, brother? [To Starling.] 
Farewell. 

[Exeunt Outlaws, with salutes. 

Enter Pearl, R., picking flowers. 

Princess. Good morning, country-boy. What 
funny men! Who are they? 

Star, [saluting] Why, Miss, they call them¬ 
selves Free-huntsmen. 

Princess, [shocked] Free-huntsmen? Oh, but 
that is very naughty indeed! I am afraid, if my 
father knew, he would have them shot and strung 
upon the trees. 

Star, [recognizing her] I have no doubt he 
would. [Aside.] It must be the Princess! 


26 THE THREE GOLDEN HAIRS [act i 


Princess, [picking a flower] There are no free- 
huntsmen in our land; they are all my father’s. 
How did you come in their company, you dusty 
boy? 

Star. I was lost; and wandered all night seek¬ 
ing the path till I found them, Princess. 

Princess. Do you know who I am? 

Star. I think I do: I hope so. Because if you 
are who I think you are, I have a letter for your 
mother the Queen. 

Princess. A letter? That is Papa’s black seal. 
[She calls L.] Mamma — oh, Mamma! Here 
is a boy come from the King with a letter. [Enter 
Queen Wimple and Duchess Ann, from L.] He 
is terribly dusty, but that is because he has been 
travelling all night, and lost the path, and two 
ever-such-funny free-men showed him the way to 
us. Fancy! 

Queen. My dearest Pearl, what a mouthful of 
chatter! He seems a very ordinary young peasant; 
and if he has made haste, that is because your 
father sent him. 

Princess. Yes. It is so funny everybody does 
what Papa says, just as fast as they can! 

Queen. Where is your missive, boy? [Star¬ 
ling hands it, dusting it first.] You are dusty, 
indeed! 

Star. It is flour, Madam; in my pockets. I 
work in a mill. 

Princess. A mill — how lovely! What is it 
like? [They talk in whispers together down R. 
Queen walks aside L ., passing the letter to the 
Duchess, a hand to her breast.] 

Queen. Read it to me, pray, my dearest Ann! 
A special message from Crow makes me so nerv¬ 
ous. It is nearly always some one to be beaten 


sc. Ill] THE THREE GOLDEN HAIRS 27 


or exiled, or assassinated in his absence. People 

will soon hate me as much as- I mean, I shall 

soon be hated as though I were a cruel Empress, 
not an obedient wife! 

Duchess, [reads] “Let the bearer of this be 
dusted, dressed, and wedded to our daughter, such 
that all may be over by our return.” 

Queen. Impossible! You rave, my good Ann! 
So kind and comical — that is never my Crow’s 
hand! Look again. 

Duchess. Madam, that is how it stands. There 
is a former message, all but erased; something 
about flogging and strangling, it seems to be. 

Queen, [horrified] Never! Poor little thing! 
But that sounds much more like my dear husband. 
Which am I to believe? 

Duchess. Madam, the first read fairly, the 
second is all but blackened out. 

Queen. A white message and a black message; 
one that I favour, and one that I believe! Which 
then shall I follow? It is plain to me, Ann, 
since my Pearl has taken to him, that this peasant 
boy is a king’s son in disguise, and I should love 
to dust and dress him up, according to the fair 
command! But I feel sure my Crow never meant 
anything so amusing, for all of us; the black 
one is so much more the colour of his mind. My 
sweetest Ann, do help me! 

Duchess. Madam, you might consult the Court. 

Queen, [bitterly] What does the Court care 
whether I maltreat a messenger or marry him to 
my daughter? Either would make a show, and 
an hour’s talk! . . . Come hither, young man. 
Know you the contents of this packet? 

Star. Madam, I cannot read. 



28 THE THREE GOLDEN HAIRS [act i 


Princess. Not read, Starling? I will teach 
you. 

Duchess, [aside to Queen] Then he cannot 
write either; thus he cannot be the forger. 

Queen. Very true, but I knew it: this is a nice 
boy. Now, sir, by the King’s orders, and under 
his seal, I am to bid you welcome, and offer you 
my daughter’s hand. 

Princess. Mother! 

Queen. What think you of it? 

Star. Madam, I think it most unlike the King. 

Queen, [to Duchess Ann, aside} You see, he 
is a clever boy too: he agrees with me. [To 
Starling.] You refuse, then? 

Star. What happens if I refuse? [Queen 
points to body on tree; he is troubled.] I would 
take no favour from one who insulted my father. 

Duchess. Hush, child! The King may insult 
anybody. 

Queen. Would you take nothing from us? 

Princess. Or from me? 

[Business. Starling looks at both 
of them, then at the corpse, shak¬ 
ing his head. Duchess Ann 
hands him the letter, and he 
shakes his head again. Queen 
and Princess interlaced go slowly 
up L. towards exit. Princess 
turns and beckons to him, smiling. 

Star. What’s in writing! ’Tis a strange art: 
more of a puzzle-wit even than the tens and threes! 

[He follows them slowly, head down, 
holding the letter . 


[Curtain.] 


ACT II. 


Scene I. — Same as last. Enter Eelskin, R., puf¬ 
fing in the clutches of two Outlaws. 

Eel. But, sirs, I assure you, I have nothing of 
worth upon me. I am but the King’s poor hunts¬ 
man, his herald today. 

1st Out. Crow follows you? 

Eel. Oh, sir, speak of his Graciousness with 
more respect! But bethink you, he must not 
arrive, and the Palace, the menials, unwarned, 
that were- [gesture]. 

1st Out. Ah! [ Imitates gesture.] A shock to 
them indeed, in the midst of the betrothal fes¬ 
tivities! 

Eel. Say you so? Has the Princess accepted 
the King of Rookland, her pressing suitor? 

ls£ Out. Her hand is promised, and she will 
be affianced today. The City down there is mad 
with merriment, or so the country rumour goes. 

Eel. Ha! They had best not be too merry, 
lest the King- 

1st Out. It is true. Out of the shadow of the 
Crow’s wing, those about the Princess grow young 
again. Such simple happiness should not be per¬ 
mitted: it is perilous. 

Eel. Do you think so? Pray then, take my 
gold chain, take anything, and let me go. Bethink 
you, I carry the Royal Command! 

[He turns to 2nd Outlaw. 

2nd Out. [clasping him closer] Nay, tarry a 
little. You are the second messenger, royally 
charged, we have-accompanied lately. 





30 


THE THREE GOLDEN HAIRS [act ii 


Eel. Eh?— Ay, ay! [Chuckles.] A young 
lad, was it not? A pretty popinjay, something 
dusty in the plumage. Canst tell me how he 
prospered? 

1st Out. Methinks the Queen exalted him. 
[Eelskin chuckles.] Raised him high. [Points.] 

Eel. [gaping] Ah, ah! Is it indeed he who 
hangs yonder? Tell me, you saw him die? [Nods 
and pantomime from both Outlaws.] Ah, if you 
had seen him, not so long since, bearding his 
betters! So young and fresh and fearless! Who 

would think- [Shakes his head at dummy.] 

This will be merry news for my master — and 
the wedding too! But let me go, sirs, and I 
warrant you both a free pardon, on the strength 
of this. 

2nd Out. [clasping him closer] Wait, I hear 
the music approaching. Come this way and attend. 

[They retreat down R. Enter Chorus , 
L. r dancing in procession . 


Song and Dance. 

Air —“Come, Lasses and Lads.” 

O Prentices all, take leave of your thrall, 

And toss your tools away; 

O lads come rollick and lasses frolic, 

To greet this holiday. 

Our lady and only joy 

Will mate with the Miller’s boy, 

So trip it, trip it, trip it, on this bridal day. 

[Outlaws suddenly drop Eelskin 
and join in with crowd, 



sc. i] THE THREE GOLDEN HAIRS 31 


O join in the cause you merry outlaws 
Who own no master or lord; 

The cat’s away, and the mice will play 
All over the greenwood sward. 

So this for the tyrant’s whim! 

And this for our fear of him! 

We will flout him, scout him, do without him, 
that is his fair reward! 

[Flouting chorus repeated with hoots 
and whistles. Eelskin stands 
dumb with horror. Enter King 
Crow and joins him. String oj 
dancers lead off, hands over lips. 

King. What is this? Who mentioned a Miller’s 
boy? 

Eel. Sir, it is an uprising, surely. Hark to the 
noise from the town! 

King. It is these cursed Free-huntsmen! 
Zounds, I will hang them all: there are trees 
enough. What, more? 

[Music of a Wedding March. Enter 
procession with green boughs , L., 
Pearl and Starling leading. In 
the middle , King strides out, clat¬ 
tering his sword in scabbard. 
Shrieks, confusion. Music stops: 
men retire up stage. Girls go to 
Pearl, L.C. Queen comes C. 
Starling stands down L., alone. 

King. Hold, minions! I order this folly to 
cease! Daughter, wife, are you mad? Who is 
that interloper? 

Queen. Sir, good lord, it is he whom you sent 
us: our son-in-law, Prince Starling. 

King. I send? Here is trickery and a deep- 


32 THE THREE GOLDEN HAIRS [act ii 


laid plot. Ho, servitors! Ho, my Forest-guard! 
Seize that common pretender! 

[Guards hang back; girls cluster about 
Pearl, who jails on her knees . 

Princess. Papa, dear Papa! But you asked 
us to be kind to him! 

Queen. Remember your own signature, sir. We 
follow but your written will. 

King. Kind to him? My will? Madam, me- 
thinks my state in absence is but carelessly repre¬ 
sented! I sent no order as to marriage, betrothal, 

or such gewgaws! I ordained that-which will 

now be his fate. [Screams.] As for you- 

Queen. Sir, you forget yourself. Imprison me 
if you like, but look first upon this letter, which 
you sent me by this gentleman’s hands. 

King. He is no gentleman. 

Queen. Merely gentle. [With meaning.] And, 
as it seems, widely beloved. 

King. What is that to me? The girl is promised 
to the King of Rookland. 

Princess. I do not like a King Rook, Papa. 
He is expensive. 

King. Expensive? 

Princess. Rooks are, you know. Now, Starling 
is Luck’s child — aren’t you? 

[To Starling, who scratches head. 

King. Much his luck has done for him, standing 
there! 

Princess. But it might! He would earn money 
for me — for you as well. His foster-father is 
rich; they say the water of the mill-dam, every 
sunset, turns to gold. Slay him and you slay his 
luck, for all of us. Why not use it instead? 

King. [To Eelskin] On my beard, the wench 
c 




sc. i] THE THREE GOLDEN HAIRS 33 


speaks sense! Luck, left in prison, wastes away. 
On the gallows it- 

Eel. Breaks the rope. 

King. Not my rope. Hearken, Eelskin: I hate, 
but I will not hang him yet, I have a plan by 
which, with all appearance of mercy, I may yet 
sate my revenge. [To Starling.] Approach, 
young man. Heard you ever of Horn, the Black 
Wizard of the Nether Cave? 

Star. Most men alive have heard of him. 

King. And what of men dead? 

Star. Dead men know him also. He is a King 
of Shades. 

King. Fear you a ghostly kingdom? 

Star. I fear nothing, so the mission has sense. 

King. Of that you shall judge. I have a wish, 
before I consent to your union with my daughter 
there, for the Three Golden Hairs from the Black 
King’s head. 

Star. Does your Majesty still follow hares? 
It was so I first met you. 

King. Hairs from a ghostly head are harder 
to catch. [Growls from crowd. 

A Prentice. Refuse, refuse, sir! Curse the 
tyrant! He would slay you and slay your soul. 

[Thunder rolls; all are terrified. 
Pearl weeps, head in her mother’s 
skirt, L.C. 

Queen. Is this your mercy, sir? 

Star. I will do it. 

A Forester. Beware! 

[Thunder again, and a flash. 

Star. But tell me how to go. 

King, [jeering] How to go? Surely that is 
popular knowledge. [Points.] Ask your friends. 

[Tableau. King and Eelskin down 



34 THE THREE GOLDEN HAIRS [act ii 


R., Queen and Princess L.C., 
Starling down L. Chorus emerges 
in procession C., each section sing¬ 
ing in confidence with gestures as 
they wait near Starling. 

Song and Chorus. 

Air —“Shule Agra.” 


Prentices. 

You seek the river at the mill, 

And follow all its windings till 
It chokes with rushes near a hill. 

[ Thunder. 

Ah woe, be warned, the quest is not for you! 
Girls. 

The lake is dark, the lake is wide, 

It plunges in the mountain-side, 

A kingdom where the ghosts abide. 

[ Thunder. 

Ah woe, be warned, the quest is not for you! 
Chorus. 

Woe, be warned, you mortal boy! 

Where, oh where is all our joy? 

Storm in skies that were so blue, 

Ah woe, be warned, the quest is not for you! 

Foresters. 

The Ferryman will steer his prow 
To shores where demons mop and mow, 
And Horn goes hunting such as thou. 

[ Thunder. 


sc. i] THE THREE GOLDEN HAIRS 35 

Ah stay, our friend, the quest is not for you! 

Chorus. 

Woe, be warned of ghost and elf, 

Nor risk thy soul for earthly pelf, 

But let King Crow go down himself! 

Ah stay, our friend, the quest is not for you! 

Star. The risk is fearful! [He cogitates, looks 
at Pearl, who kneels motionless, face hidden .] 
But I accept it! Farewell, Princess, until I come 
again. 

[He kisses her hand, and runs out L. 

Crow stands in triumph C. 

[Curtain.'] 

Scene II.— Rushes, etc., again, withered flowers, 
etc. Half light , with occasional flashes and 
rumbles. Down L. a post with bell marked 
“Ferry.” Enter Starling, R. with two Bur¬ 
gomasters, Fat and Thin. 

Thin Burg, [solemn] Young man, we have 
brought you thus far, by the river-track. There 
is your ferry, if you are still headstrong. You 
can hardly miss the way. 

Star. Do your honours not come with me? 

Fat Burg, [slapping his paunch] Do I look 
like it? We do not join the ghosts as yet. 

[Rumble. 

Thin Burg. Methinks it grows darkish. I never 
liked th—thunder. 

Star. Well, I thank you for your escort. Is 
there anything I can do for you across there? 

[Nods L. 


36 THE THREE GOLDEN HAIRS [act ii 


Fat Burg. He talks as though he were going 
to the next town! Nay, my lad, do not mention 
me that side, I pray you. Not that I believe 
in spirits. [Starling takes leave , and moves to 
bell.] Yet stay! Wizards may always be of 
practical use. I have a little problem, which I 
will relate. [He recites. 

Not far hence, in my native town 
There is a fountain of high renown. 

It runs water on week days, on Sundays beer, 
Which makes it, you take me, exceedingly dear. 
Not long since, it ceased to bubble, 

And no one can tell us the cause of the trouble. 
Ah, how they miss it, the poor good souls, 
Especially during their Sunday strolls! 

It has been flowing for fifty summers, 

And never once has it wanted plumbers, 

But now, whoe’er shall the cause unfold, 

Will receive two asses laden with gold. 

[To Starling.] If you and King Horn grow 
sociable, he might find a hint to help us, eh? 

Thin Burg. I like your fashion of presuming on 
the young man’s civility! For myself, I have no 
favour to ask: merely a story to tell. 

[He recites. 

Not far hence, sir — the names you’ll pardon — 
Is a village called (wink) and a garden. 

The garden belongs to my daughter-in-law, 

And has the best apple tree ever you saw. 

Apples of gold — red gold — yes, really! 

The dear girl sent me a basket yearly. 

Well, last spring, ere the tree was cropped, 

The whole of its growth was suddenly stopped 1 


sc. n] THE THREE GOLDEN HAIRS 37 

I dug and I pruned and I panted free, 

But never a fruit on that rascally tree! 

To anyone who should explain its pranks 
I’d willingly offer my — very best thanks. 

Fat Burg. Beggarly miser! 

Star. Gentlemen, your problems are knotty in¬ 
deed; but be sure I will do what I can for both 

Fat Burg, [aside] I know which of us he will 
really regard! A well-placed generosity always 
pays, if only that poor-blooded skinflint knew. 
[To Starling.] Farewell, my friend. Here is 
a present of a fat ham to speed you on your 
journey. Do you come, sir? 

Thin Burg. [aside] I should like to have a 
look at this Ferryman they talk of; that is, if 
the boy really ventures to ring the bell. He may 
be fooling us. None ever yet dared ring it of 
their own accord. 

Fat Burg, [shuddering] That comes soon 

enough in any case. Dear me, how dark it grows! 

[Business. Starling strides to bell 
and tinkles it three times. Thun¬ 
der. Exit Fat Burgomaster 
hurriedly. Flash. Enter Fag 
the Ferryman L. Exit Thin 
Burgomaster with a howl . Fag 
sings gratingly. 


Song , with Action. 

Air —“There were Three Ravens.” 

There were three little men came to the brink 
(Down-a-down, hey down), 

«The wave rolled by as black as ink 
(With a down), 


38 THE THREE GOLDEN HAIRS [act ii 


And one of them said to the twain, 

“Oh, let us helter-skelter home again” 

(With a down, derrv down). 

There were two little men looked at the bell 
(Down, etc.), 

SayhT — “That will call queer things from ’ell” 
(With a down), 

And one of them said to the ither, 

“I don’t like a-goin’ where I don’t know whither” 
(With a down, etc.). 

There was one little man left on the shore, 

My master Horn had hoped for more, 

But master he will like this chappie, 

He’s fat and wholesome-like and young and sappy 
(With a down, etc.). 

[Finish in a groan. 

Star. Thank you, master. Any merry welcome 
does for me. How’s work going? 

Fag. You’re the first we’ve had down-away 
this ten years. 

Star. Really? And who was last? 

Fag. Poor picking: he was seventy-two. Now, 
you’re a dainty little chicken. What’s your name? 
[Star. Starling. What’s yours? 

Song, with action — Fag. 

Air —“Dame, get up and bake your pies.” 

Fag the Ferryman am I 

(Ferryman I, Ferryman I), 

None can tell me how or why; 

I’m sick of it years ago, sir! 

[Jerks thumb to and jro. 


sc. II] THE THREE GOLDEN HAIRS 39 


Folks they go and folks they come, 
Only old Fag will ne’er get home 
A-ferrying to and fro, sir. 

Find the secret to set me free, 

I’ll thank you not on my bended knee, 
There’s rheumatiz in the joint, sir. 

Folks they go and folks they come, 
Only old Fag will ne’er get home 
As Fortune she doth appoint, sir. 


Fag. I can think this way and I can think that 
way [ Thumbs as before], but no other way can 
I think. Just talkin’ to you here, because I’m 
neither going nor coming, makes me feel queerish. 
As for going this way or that way [ Thumbs\ I’d 
go mad on the spot sure-ly. 

[Siwgs] Only old Fag’ll ne’er get home 
As Fortune she doth appoint, sir. 

Star. I don’t believe she appoints it. I’m a 
child of Fortune, and should know. 

Fag. You Fortune’s son, sir? And what, if 
it beant awk’ard askin’, be you adoing here? 

Star. I seek three Golden Hairs from the 
Giant’s head. [Thunder.] 

Fag. [anxious] Whist, whisht! Why, there’s 
none knows he has them, unless his own mother; 
and don’t you go asking she. 

Star. I never heard of a mother. Where does 
she live? 

Fag. [whispers] Hedda’s his mother; she 
keeps his house. I’d not go near her, but there! 
Mothers is mothers. There might be a chanst. 

Star. Is she fond of him? 


40 THE THREE GOLDEN HAIRS [act ii 

Fag. Ay, truly, and proud. She sits combing 
out his hair. 

Star. I’ll try it. Is there any present I could 
take her? 

Fag. Take her yourself; there’s nothing old 
wives like better than a brisk young lad. [ Doubt¬ 
ful .] Happen she might like you for the pot, if 
so be she’s not been marketing- 

Star. I have a fat ham here — how is that? 

Fag. All very well, but where’s my pay? 

Star. [ troubled ] Will you trust me till I come 
back? 

Fag. Till you come back! Till you come back, 
says you! Why, none ever did come back! 

Star. Well, I will come back, and look— I 
will bring you an answer to your question. 

Fag. What question? 

Star. The one you asked — how to get clear 
of this ferry-boat. 

Fag. You’ll answer that? You’ll answer that? 
[ Depressed.] But Lordy-save-us, you’ll be in the 
pot by that time; why, bless my buttons, King 
Horn he will be eating. Starling-soup. 

Star, [aside] It’s hard to be cheerful with 
this old gentleman. Perhaps it comes of keeping 
him on the bank. Once plying, he’ll be merrier. 
[To Fag.] Come now, to your trade. 

Fag [grumbling] I like that, unpaid. [,4s 
Starling goes L. he hurries after.] Don’t you 
touch that tiller, now, or it’ll go to the bottom 
sure-ly. There are but two ways I can go, this 
way and that way [Thumbs], but I can do that. 
Ay, I can do that. 


[Exeunt. Curtain.] 



sc. II] THE THREE GOLDEN HAIRS 41 


Scene III.— The Black King's kitchen. Hedda 
discovered making soup, L.C., in a very large 
pot. She tastes it. 

Hedda. Hum! Methinks it lacks flavour again, 
and Horn will chide me. Yet you would say 
enough had gone into the pot to make it tasty! 
Let me see: [Counts on fingers ] there’s the hedge¬ 
hog and the rattlesnake, a bullock-skin with hoofs 
and horns—that should have a good beefy flavour; 
nine honeycombs with the bees in them, two pairs 
of old boots, and some nice red toadstools. Yet 
it tastes but so-so. O, for a nice young goat or 
buck from the other side! Still better a plump 
young lad, some naughty truant, the despair of 
his masters. Horn is bound to like naughty-boy 
best. Who is this? 

Enter Starling, R. 

Star. Good-day, Mother. 

Hedda. [aside] Mother! To me! 

Star. May I ask whose house this is? And if 
I can have a bite and sup? 

Hedda. This, hardy stranger, is the house of 
Horn. 

Star. Well, that is good hearing, for it is Horn 
I seek, • 

Hedda. Horn is hunting. Begone, rash mortal, 
lest he return too soon. 

Star. I am weary. [He sits down, R.] How 
odd your soup smells. What is it made of? 

Hedda. A world of good things, as befits a 
Ghost-King’s table. [She fishes out an old boot.] 
You see? Ah, that there were a leg inside it! 

Star, [aside] This is a strange house. I sup¬ 
pose this is the Wizardress. 

Hedda. [aside] He is a pretty, sonsy boy. 


42 THE THREE GOLDEN HAIRS [act ii 


Alas, I am aware of feminine weakness! [To 
Starling.] Tell me your business. 

Star. I seek three Golden Hairs from the Ghost- 
King’s head. 

Hedda. What? 

Star. It is little to ask, from the wonderful 
head of hair I hear the Giant possesses. 

Hedda. [softened] It is true my son has the 
most wonderful hair. As a child his hair was of 
purest gold; but it has darkened with age, and 
now but three of the Golden Hairs remain. You 
would not deprive me, his mother, of my earliest 
memories? [She looks into pot and fishes out a 
fur rug, which she drops with a sigh, and tastes 
it.] The flavour grows, I think. 

Star, [offering ham] Would this improve 
matters? 

Hedda. The very thing. [Sniffs it.] Pig! 
Nothing more resembles fat burgomaster, my dear 
son’s favorite food. 

Star. Indeed! [Aside.] It is as well the donor 
of the pork turned back! [Blare without. He 
starts.] What is that? 

Hedda. It is Horn, returning! Hide, child, 
beneath my bonnet, if you would save your skin! 
For the sake of that ham-bone, Hedda will do 
her best to help you. 

Star, [sitting calmly warming his hands] There 
is more I must know first. 

[Tramping heard. 

Hedda. Hide, hide! 

Star. I must know- 

Hedda. What, what? 

Star. First, what caused the fountain, the pride 
of the town, to cease flowing. 

Hedda. Alas! How can I tell? 


sc. Ill] THE THREE GOLDEN HAIRS 43 


Star. Next, what caused the tree of the golden 
apples to cease growing. 

Hedda. Spare me! He will slay me too! 

Star. Last, what keeps the Ferryman for ever 
going, to-and-frowing- 

Hedda. There is no knowing, no knowing, no 
knowing! Begone, young cockerel, and cease 
crowing. Else, on your bended knee, you’ll crow 
in another key! 

[Starling hides under her bonnet. 
Enter Horn, L. 

Horn. Aha! Ahum! Fee, fi, fo, fum! If you 
asked me, I’d say somebody’s come. 

Hedda. [shaking head] A pig for the pot, to 
make my brew hot. Sit down and see if you like 
it or not. 

[Horn seeks about, and sits down 
growling to supper. 

Horn. All very pretty: still I’m hung, but I 
sniffed somebody young. [Tastes.] This has a 
fat-Aldermanic flavour. 

Hedda. Which is better, any day, than a slim 
young shaver. 

Horn. Not so. Bad boy’s my favourite food. 
He’s never so dainty if he is good. [Jumps up.] 
I’ll warrant bad boy has crossed this floor. I 
never smelt impudence so strong before! 

Hedda. You have eaten, my darling, now sleep 
upon it. 

Horn [lies at her feet] What are you doing 
without your bonnet? 

Hedda. The kitchen was hot, and I needed air. 
Sleep, little lamb, while I comb your hair. 

[Horn sleeps. She combs and sings. 



44 THE THREE GOLDEN HAIRS [act ii 

Song —Hedda. 

Air —“Cock-a-doodle-doo ” 

Oh sleep, my Horn so fair. 

Your mammy combs your hair. 

The fountain-feast its flow has ceased 
But why we’re not aware. 

But why we’re not aware, 

But why we’re not aware, 

She fain would know of the fountain flow 
And plucks the first Gold Hair! 

[She plucks hair. Horn starts awake y 
hand to head 

Horn. Ods-bodikins! What are you about? 
Hedda. Forgive me. I had so strange a dream 
that I seized your hair. I dreamt that the foun¬ 
tain in the market-place, the pride of the town, 
had ceased flowing. 

Horn. Ha, ha! That takes some knowing. 
Under a stone of the fountain squats a squinting 
toad. Slay it, and it will flow as it always flowed. 
Hedda. To be sure. Sleep again, my son. 

[Sfwgs. 

O sleep, my Horn so fair. 

Your mammy combs your hair. 

The wealth of the tree has ceased to be, 

And why we’re not aware. 

But why we’re not aware, 

But why we’re not aware, 

She fain would hear why the tree’s so queer 
And plucks the next Gold Hair! 


sc. Ill] THE THREE GOLDEN HAIRS 45 


Horn. Flinders and Cinders! What are you 
about? 

Hedda. Be merciful—I had so strange a dream. 
I dreamt that the tree of the golden apples had 
ceased growing. 

Horn. Ha! Ha! That takes some knowing. 
A mouse sits nibbling at the good tree’s root. 
Slay it, and the branches will again bear fruit. 

Hedda. I knew it! [Smgs. 

O sleep, my Horn so fair. 

Your mammy combs your hair. 

She fain would ask of the Ferryman’s task 
And why he must be there. 

But O, she does not dare, 

But O, she does not dare, 

She fain would enquire of the Ferryman’s hire, 
And plucks the last Gold Hair! 

[ Thunder. She holds up hairs. Horn 
wakes raging. 

Horn. Can a man never sleep in peace, but 
you will be at him with your pulling and pricking 
and yowling lullabies? I will put you in the pot, 
and leave you there to bubble at your ease! 

[Seizes her by the hair. 

Hedda. O mercy, mercy, it was but a frightful 
dream! Listen! I dreamt I myself was that 
Ferryman of ours, condemned for ever to ply on 
a lonely lake. It seemed so wretched a pass that 
I woke and seized you- 

Horn. A wretched pass? A silly ass! Fag 
has only to give the tiller into the hands of the 
first passenger who will take it; and the other 
would be forced to ferry for ever in his place, 
while he went free as air. Now, a truce to your 


46 THE THREE GOLDEN HAIRS [act ii 

combing. Let me alone: I would sleep in peace. 
If you do not — the pot! 

[She trembles. He jails asleep on 
floor, head to audience, knees up. 
Starling emerges from bonnet, 
as Hedda bends to look at Horn. 
Hedda. My poor pretty! Did his mammy take 
his hairs? Ah, how sweet he used to look lying 
in his cradle: even lovelier than at present. [To 
Starling.] There are your hairs, a fond mother’s 
last gift. For when he finds they are gone, to¬ 
morrow, he will surely boil me [Weeps. 

Star. Come with me, Mother. Escape while 
you can. 

Hedda. [shakes head] No hope, no hope. 
Demons, [behind] No hope, no hope, no hope, 
for ever-more! 

Star . What’s that? 

Enter Chorus as imps, and dance about Horn. 
Song —Imps. 

Air —“The Two Magicians.” 

O we are imps and goblins, as black as any ink, 
And you’re a silly mortal, so prancing, proud and 
pink. 
t [All.] 

Iso hope, no hope, no hope, no hope for ever¬ 
more. 

O is that your silly song? 

We never would change our demonhood 
That we have kept so long, 

We’d rather dance despairing, but dance with 
will 


a 


sc. Ill] THE THREE GOLDEN HAIRS 47 


With our good fellows underground, 
Than be such a silly-white, lily-white 
Ad.lib. Crusty, dusty, 

Glowery, floury, Mortal Boy, 

A dusty Miller-boy! 

[Repeat tune for dance, and exeunt, 
putting out tongues. 

Star, [shakes head] This is a very strange 
house. I think I should be well out of it. Fare¬ 
well, Mother. 


[Curtain.] 


Scene IV.— Same as Act I., Scene I. Pearl dis¬ 
covered sleeping on ground, R.C. Enter 
Starling with flowers, R. He advances and 
kisses her. She wakes. 

Princess. Starling! Is it really you? Well, I 
am glad. How nice you look — but I liked you 
better in your flour. 

Star. It is you that will be flowery now, Prin¬ 
cess. [He crowns her.] There! What a pretty 
dress you have on. 

Princess. It’s my ball dress. You see, I was 
to be married to the King of Rookland tomorrow 
— I mean today. 

Star. What are you doing here, then? 

Princess. Well, we had such a very long ball, 
and I grew so tired dancing with that Rook that 
I ran away early this morning. And then I was 
afraid to go back, so I slept here. [Weeps.] And 
now they will never, never let me marry you in¬ 
stead. The Rook-king is so very rich. 

Star. Is that all? I have two asses laden with 
gold. 


48 THE THREE GOLDEN HAIRS [act ii 


Princess. Have you? How did you get them? 

Star. A token of gratitude from a grateful 
burgomaster. 

Princess. A burgomaster, and grateful? But 
how much is two asses’-ful? For Papa will ask. 

Star. Enough to keep us very comfortable, and 
our mothers too. 

Princess. [sighing ] I fear Papa does not want 
me comfortable: he wants me grand. However, 
go to your asses and wait. I hear his horn. 

Exit Starling, R. Enter King Crow and 
Duchess Ann, L. 

Duchess. What, our Princess? And alcne? 
What is that? 

[Cheering heard, R. She runs to see. 

King. Daughter, what make you here? 

Princess. Oh, Papa dear, I had a lovely dream. 
I thought Starling had come home again, with 
two asses laden with solid gold! 

King. What, that vulgar pretender? Let me 
not hear his name! 

Duchess [re-entering] It is he! It is he! 

King. Who? 

Duchess. Luck’s child. The miller without his 
flour. 

King. Never; not that brat again! No matter, 
this time I have him by the neck. What are 
asses and gold to me? I will claim my three Hairs 
at his hand! 

Duchess. He looks a very Prince: the people 
are crowding about him. He asks for the Princess. 

King. He shall not have her! To the house, 
girl! What, you disobey? 

[He draws his sword. Princess shrieks. 
Starling rushes on scene and 
clasps her , holding up his hand . 


sc. IV] THE THREE GOLDEN HAIRS 49 


Star. The Hairs, the Hairs! 

[ Thunder , lightning. Crow’s sword 
drops and he slinks back R,, and 
exit. Starling takes sword and 
stands guarding Princess at C. 
Chorus flocks in, singing. 


Chorus — Boys and Girls. 

Air —“Let Bucks a-hunting go.” 

Come man, come maiden, with bright boughs laden, 
And let the news go round. 

The peril’s past, and he comes at last, 

Who in our hearts is crowned. 

So here is luck to our Starling, 

And here’s our love to his darling. 

(PP) 

He went downstairs for the Golden Hairs, 

And brought them back to ground. 

Come all, come both, and take your oath 
A-kneeling on the plain, 

The Tinker’s son is the only one 
That ever we want to reign. 

So here is luck to our Starling, 

And here’s our love to his darling. 

(PP) 

He went downstairs for the Golden Hairs, 

But now he’s come again. 

Princess, [looking round] But where’s Papa 
gone? 

Star. Where is the King? 

Voice. Never mind him, Miss: he’s off, and 
a good riddance. 


SO THE THREE GOLDEN HAIRS [act ii 


2nd Voice. There’s no King but you. 

Eel. [advancing ] Highness, I will explain. 
While you were singing that pretty song, my late 
master, the King of Croatia, retreated. 

Star. Retreated? 

Eel. Yes. He went to have a look at the 
donkeys and the gold that her Highness mentioned. 
The gold he ordered to a safe place: then he 
mounted his swiftest steed and rode post-haste to 
the Ferry; for it seems he was told the fortune 
came from there. 

Star. It is true. 

Eel. So he thought there might be more gold 
the other side. He purposed to ask the Ferry¬ 
man— 

Star. Ah, stop him! Fate, fate — it is too 
late! 

Enter Fag, dancing , L. 

Song — Fag and Chorus. 

Same Air as last. 

O Fag is merry, he’s left his ferry 
A sailing from the beach. 

The King’s got hold, and he plies for gold, 
Which never his fingers’ll reach! 

[All start chorus — “So here is luck 
to our -” but break off. 

Fag. Stop a minute! [Smgs.] 

I put the tiller in his hand 

As that young chap said to do. 

He took it tight and he’ll ferry all night, 

And all of the next day too! 

[Same business; chorus interrupted. 




sc. IV] THE THREE GOLDEN HAIRS 51 


Stop a minute, stop a minute! [Smgs.] 

He had a crownd upon his head 
And a sharp sword at his thigh, 

ItTl get in his way when he ferries all day, 

And his crown’d is over one eye! 

[Pause, while he recovers from laugh¬ 
ter; then chorus. 

So here is luck to our Starling, 

And here’s a kiss to our darling. 

The black King Crow to the shades must go. 
And serve it him right, say I! 

[All marching .] 

And serve it him right, say I; 

And serve it him right, say I; 

The black King Crow to the shades must go, 
And serve it him right, say I! 


[Curtain.] 










The Robber Bridegroom 

(After Grimm) 


CHARACTERS. 


Peter the Miller. 

Dame Nancy, his sister. 

May, his daughter. 

Robin, the charcoal-burner. 

Grist, the Miller’s boy. 

Nettie, the gypsy-girl. 

Go-between, the pedlar. 

Sir Mummery Greyskin. 
Jack-o'-Lantern, his jriend. 

The Robber's Nurse. 

Gruffy, Robber-children. 

Grizel, 

Chorus of Children. Chorus of Robbers. 


[Note. —Peter, Nettie, Go-between, and Nurse 
should be able to sing well. Robin should sing a 
little. The part of the Nurse may be doubled with 
that of Dame Nancy. 

Note on costume—A. hood of shaggy brown 
stuff, with ears, would be effective for wolf-children. 
Jack has a cloak and slouch hat like Greyskin, but 
a bulrush for a feather, and dark-coloured tights 
beneath, and is lean and active. For his lantern 
an electric torch alone will do, but a torch inside 
a lantern, with means to touch spring, is better. 

Robin is blackened with cork and Grist whitened 
with flour.] 


SCENES. 


ACT I. Outside the Miller’s House. 

ACT II. Scene I. The Forest. 

Scene II. The Robber’s Kitchen. 
ACT III. Same as Act I. 


NOTE ON THE MUSIC. 


The airs to which the songs are intended to be 
sung can be found in the song-books named below. 
Several are well known and occur in many other 
collections of English songs. 

1. Sweet Nightingale. English Folk-songs for 
Schools, by S. Baring Gould and Cecil Sharp. 
(Curwen & Sons.) 

2. Leezie Lindsay. National Song Book. (Boo- 
sey & Co.) 

3. Cockles and Mussels. Scottish Students’ 
Song Book. 

4. Gossip Joan. Songs of the British Islands, 
by W. H. Hadow. (Curwen & Sons.) 

5. Sally in our Alley. Scottish Students’ Song 
Book. 

6. Gaudeamus Igitur (Bird Song), Gaudea- 
mus, by J. Farmer (Cassell & Co.); Scottish 
Students’ Song Book. 

7. My Lodging is on the Cold Ground. N.B. — 
This is the minor tune, as in Songs of the 
Four Nations (Cramer & Co.) or Old Eng¬ 
lish ditties (Chappell & Co.) 

8. How Should I (Ophelia’s song in Hamlet). 
Traditional stage air. 

9. Down Among the Dead Men . Scottish Stu¬ 
dents’ Song Book, etc. 

10. The Wraggle-Taggie Gypsies. English Folk¬ 
songs for Schools (as No. 1). 

11. Eileen Aroon. National Song Book (as 
No. 2). 


THE 

ROBBER BRIDEGROOM 

ACT I. Outside the Miller's House. 

Scene I .—Front of Miller's house, L., with en¬ 
trance door, and window above it. Down R. 
a large board, with i( Private Residence,” or 
some such notice on it. R. is the path to the 
forest. By this path enter Robin, Grist 
carrying flowers, and chorus of children, with 
baskets and green boughs. The tune is played 
through once as they enter. 

Chorus of Children. 

Air —“Sweet Nightingale.” 

Boys and girls, come along 
And join in our song, 

For this is the fine holiday. 

We have come here to call 
On the fairest of all, 

And to crown her the queen of the May, 

Of the May, 

To enthrone her the queen of the May. 

All. [hands up to the window] May! May! 

Enter from the house, L., Dame Nancy, with a 
feather-broom, making passes at the children. 


58 THE ROBBER BRIDEGROOM [act i 

D. Nancy. Highty-tighty, what’s all this? Are 
gentry folk never to have any quiet? Don’t you 
know these fields are private property, and this is 
the Miller’s new house? 

ltf Girl. It’s the Miller’s daughter we are seek¬ 
ing. 

D. Nancy. I dare say. My niece May is not 
for the likes of you, this year. She’s to marry a 
gentleman. 

All. [ disappointed ] A gentleman? 

Grist. [ behind , sing-song] A gentleman? 

D. Nancy. Grist, do I see you among this 
rabble? Come here! [She takes him by the ear.\ 
You belong to the mill. 

All. Oh, she’s taking away our white boy! 

[Robin advances R.C. and sings. 
Silly girls, come along, 

We are doing no wrong, 

And in May time we go where we will. 
[Meaningly to May’s window.] 

If she’s too proud to play, 

We will soon go away, 

But a Miller should live in a mill, 

In a mill, 

A Miller should live in a mill. 

Grist. Mistress, it was Black Robin, the char¬ 
coal-burner, singing that. 

D. Nancy. Like his impudence. 

Grist. Ay, mistress. It’s better to have a white 
face like mine, than a black one like his’n. If 
I was Miss May, I’d know which to choose on us, 
so I would. 

^ D. Nancy. As if she thought of either of you! 
Who are those flowers for? 

Grist, [thumb up to window ] Her. 


sc. i] THE ROBBER BRIDEGROOM 59 


[Dame Nancy throws them away , 
and cuffs him. Children have 
been filing out R., pointing at 
the board. Robin, left to the 
last , picks up one of Grist's 
flowers and throws it at the upper 
window. Then he advances softly 
behind Dame Nancy, and sings. 

Robin. 

Miller Peter’s got gold 
And Dame Nancy’s a scold 
And in Maytime I go where I will, 

Where I will, 

[spoken suddenly ] 

And a Miller should live in a mill. 

[ Exit Robin 

D. Nancy. [jumping ] A nasty, dirty gipsy- 
fellow! I only hope May heard nothing. [Glances 
up at window.] Throw all those flowers on the 
scrap-heap — quick, before my brother comes. 

[Exit Grist up L. with flowers. Enter 
Miller Peter from the house- 
door with a band-box. 

Miller. Good-morrow, sister. Here is a token 
I brought you from the town last night. It’s a 
cap, fashionable. [Business.] I thought you 
would like it, against the girl’s wedding. 

D. Nancy. What wedding? 

Miller. Why, my little maid’s. I picked up 
quite a likeable kind of suitor for her yesterday: 
better than any offer I have had. I don’t say it’s 
settled, but- 

D. Nancy. Settled? My niece’s husband? 
Without consulting me? I suppose you got drink¬ 
ing after market, and took the first offer that came. 
Belike some beery corn-factor. 



60 THE ROBBER BRIDEGROOM [act i 


Miller. No, no, sister: better than that. A 
gentleman. [Winks.\ With a sword. [Winks.] 
I heard all about him, too, from his best friend, 
and you know best friends are truthful. Oh, he’ll 
be a smart son-in-law, I’ll warrant. I dare say he 
will come to dinner today. 

D. Nancy. What? And no fire in the house? 
Ah, brother, you were ever hasty! What do friends 
know? Do you mean you never saw the gentleman 
himself? 

Miller. Oh yes, I saw him, so to say. He was, 

as it were, in a manner of speaking-but wait. 

You shall hear the tale. 

[He sits C. with pipe, and sings. 


Song, with Action — Miller. 
Air—“Leezie Lindsay.” 


i. 

I went to the market on a Monday: 

I met there with pretty men three: 

They all would come a-courting my little Mary: 
Her bridegroom and my son-in-law for to be. 

D. Nancy. Three? Highty-tighty, and I never 
heard of one! 

Miller. 


n. 

The first he had a pocketful of silver, 

The next he had farming-land free, 

And the third he’d a swagger here and a sword 
there, 

Her bridegroom and a gentleman for to be. 



sc. i] THE ROBBER BRIDEGROOM 61 

D. Nancy, [aside] My poor brother does not 
know a gentleman when he sees one! 

Miller. 

hi. 

I said Pish and Pshaw to the first one, 

I said nonny-no to the second, 

And I jogged off again on my homeward way, 

A third [at that time o 1 night ] being more than 
I had reckoned. 

D. Nancy. You mean you fell in with the 
third coming home? You would marry your little 
daughter to a chance acquaintance? By night? 
And when you were tipsy, too! 

Miller. Now listen: 


IV. 

I met with two gentlemen at the crossways, 
With cloaks and a bearing so free: 

And one of them had heard of my little Mary, 
And was sighing my son-in-law for to be. 

D. Nancy. Did he tell you so? 

Miller. Listen: 


v 

His love kept him silent and moody, 

His cloak was right over his face: 

I talked with the other one who bore a lantern, 
The ways of the woodland for to trace. 

D. Nancy, [doubtjul] A lantern. 

Miller. 


VI. 

It seems he has a Castle over yonder, 
With servants and fine horses in stall; 


62 THE ROBBER BRIDEGROOM [act i 


I said on his [excellent] offer I would ponder, 
And today for my answer he could call. 

[To D. Nancy.] There now! 

D. Nancy. Mercy on us! A castle! [Calling.] 
May! May! Come down, child, quickly! 

Enter May L. in a white frock, with a flower. 

She walks slowly to C. between them. 

Oh goodness, child, what did you put on that 
old frock for. Today of all days! Listen you 
here, what your good father has for you. 

May. For me? 

D. Nancy, [stage whisper] A husband. 

Miller. How would you like to wed a gentle¬ 
man? 

D. Nancy. [ 0 s before] Rich! 

Miller. Dying for you! 

D. Nancy. Or for your father’s gold. 

Miller. Horses, servants, a sword and mous- 
tachios. A castle in a wood. Everything tidy. 

D. Nancy. Well, you are a lucky little girl! 

May. What is his name? 

Miller. Ah — hum — that I hardly know at 
present. Be off, now, and put on your best fal¬ 
lals. He is coming today, as it were, to have a 
look at you. Come, sister, as to the dinner, I 
must have a word. 

[Exeunt into house L. 

May. Husband? A gentleman? Me? [Robin 
comes from R.] Oh, Robin, they say I am to 
be married. Have you heard? 

Robin. I’ve heard something. 

May. A castle in the wood he has, my father 
says. You burn charcoal in the wood, don’t you? 
Have you ever seen a castle there? 


sc. i] THE ROBBER BRIDEGROOM 63 


Robin. I have heard of one, out beyond the 
marshes. Nettie the gipsy-girl told me. The 
Wolf’s Castle, they call it. 

May. [smiling] Is my bridegroom a wolf, 
then? 


Enter Grist R., introducing strangers. 

Grist. Sir Mummery Greyskin. 

May. Oh heavens, it is he! 

[She runs away, L. Enter R. Grey¬ 
skin disguised, and Jack-o’-Lan- 
tern, carrying an unlighted lan¬ 
tern, concealing a flashlight inside. 

Jack. Stay, stay, my pretty maid. [To Grey¬ 
skin.] Why, that must have been the fair May 
in person. [To Robin.] Do you know her, my 
boy? 

Robin. Well enough. She was my playmate. 

Jack. Was? 

Robin. She is too fine now to play with me. 
My black hands would spoil her city frocks. 

[Exit Robin up R. Enter Miller 
and Dame Nancy from L., mag¬ 
nificent. 

Miller. Your servant, sirs — my lord, I should 
say. My sister and housewife. [Salutations.] 
My daughter will be with us anon. You will 
excuse, sir, her shyness. [Doubtful.] Do I address 
her would-be suitor? 

Greyskin. [gruff] You do, sir. Here, Jack. 
[Jack puts down presents.] 

D. Nancy. Mercy on us! 

Jack. I think we caught sight of her lately, 
in converse with a black boy. Blackish. 

D. Nancy. That rascally charcoal-burner. 


64 THE ROBBER BRIDEGROOM [act i 


[To Greyskin.] A regular gipsy, my lord. The 
woods hereabouts are full of shady characters. 
Do you not think so? 

Jack. In shady parts, that’s natural. 

Miller. [To Greyskin] I hope you liked my 
daughter’s looks, sir. 

Greyskin. She seemed a nice little lamb. I 
love lambs. 

D. Nancy. My poor dear sister called her 
May, because she was so fresh and innocent. 
[Aside.] Silly, I should say. 

Greyskin. She’s motherless, eh? 

D. Nancy. Alas, yes. [Greyskin grunts.] 
What did you say, sir? 

Jack. My friend said, happy the orphan that 
has so fair an aunt to replace her natural guardian. 

D. Nancy. Indeed? Your friend is a flatterer. 
[Aside.] This follower-fellow talks too much. 
The short speech of Sir Mummery pleases me 
better, showing the truer breeding. [To Grey¬ 
skin.] Talking of shady characters, sir, did you 
ever meet the rogue Jack-o’-Lantern, that haunts 
the marshes yonder? Between ourselves, I believe 
that Robin Chips and he are hand-in-glove. 

Jack, [pushing lantern out of sight] They 
are, ma’am. That boy keeps strange company. 
It were better not to have him about. [Grunt.] 
My friend agrees with me. 

Miller. I have forbidden him the house, but 
he comes about again, at times, with the other 
brats. On holiday, there’s no way of it. 

Greyskin. Why not put him in a mill-sack, 
and tie the mouth of it, and drop him in the mill- 
race? [Jack whispers to him.] 

D. Nancy. Ha, ha! A pretty wit. You are 
joking, sir. 


sc. i] THE ROBBER BRIDEGROOM 65 


Greyskin. It’s only, he said there was no way. 
Grumph! [Jack whispers.] 

Miller. If you dislike the young charcoal-burner, 
sir, we will see no more of him. [Enter May L.] 
Ah — ha! My daughter, Sir Mummery Greyskin. 

[Salutations. They take seats. Long 
pause. Grunt from Greyskin. 

Jack. Fair May, my friend is a man of few 
words, but much feeling. Your charms have over¬ 
come him. Since first he heard tell of you, he 
has not been able to sleep by night, or speak by 
day. Yet he loves you. 

Greyskin. Fair maiden- [Sigras to Jack, 

who hands pearls .] 

D. Nancy. Mercy on us! 

Miller. Thank the gentleman, child. [May 
turns to Jack, uncertain.] No, the other one, 
stupid. 

May. I thank you, sir. 

Greyskin. [hoarsely] There’s more where those 
came from. 

D. Nancy. Mercy on us! 

Greyskin. You’d see, if you came to visit me. 

May. To visit you, sir? [Jack whispers.] 

Greyskin. Why shouldn’t she come to visit 
me? The way is quite easy. She’d see then for 
herself. 

D. Nancy. We are told, sir, you have a Castle. 

Greyskin. Tell her about the Castle, Jack. 

Jack. The Castle where my friend lives is — 
something like a Castle. You never saw such a 
Castle as it is. [Gestures.] It’s — to begin with, 
it’s- 

Greyskin. Stop, you had better sing it. 

Jack. I have no voice. [Music heard without 
R.] The very thing! I’ll get that pedlar to sing 

E 




66 THE ROBBER BRIDEGROOM [act i 


it: we passed him on the road. He will do any¬ 
thing for sixpence, [aside] and he has a way with 
womenfolk. What do you say, sir? 

Grey skin [aside] Grumph! It might help us. 
The girl looks dull. 

Jack. I’ll slip aside and tell him. Do you go 
into the house. 

[Line of Pedlar’s song heard off R. 

D. Nancy, [looking R.] Why ; here’s the dear 
pedlar coming. I wonder what fashions he has 
to sell. [She goes R. to gape.] 

Miller. A pedlar! Women are always after 
pedlars. A pedlar’s the same as a meddler, say I. 

Grey skin, [sniffing] Fuff! I smell something 
savoury. What have you for dinner, dame? 

D. Nancy. Roast lamb, so please you, sir. 

Grey skin. Lamb? I love lamb! 

Miller. Sister! [Shakes her as she gapes off 
at pedlar.] Sister, Sir Greyskin is waiting to see 
the house. [Exeunt L. Greyskin and Dame 
Nancy.] May! 

May. [as he goes to her] Father, may I not 
stay without a little? 

Miller. Do you not like my choice? 

May. O yes: but I fear him rather. He is 
so — silent. 

Miller. Ah, that is because he is such a gentle¬ 
man, such a — such a- Hum, you will soon 

get used to it. Come! 

[May comes unwillingly. He draws 
her off L. 


[Curtain for a minute.] 


sc. n] THE ROBBER BRIDEGROOM 67 


Scene II. —Same as I. Enter R. Go-between 
the Pedlar, hobbling , with pack and bird-cage, 
followed by children, led by Nettie, peeping. 
Jack comes last, during song. 

Song — Go-between. 

Air —“Cockles and Mussels.” 

From London’s fair city, 

Where the ladies are pretty, 

A-hawking, a-talking, a pedlar I come; 

Your secrets, if any. 

I’ll sell for one penny, 

So some will be dumb if they’re wise, a wise-O. 
Chorus. 

Wise, a wise-O, 

Pretty girls will be dumb if they’re wise, a wise-O. 

Go-between. Who’s got a secret? [ Children 
cry “/.”] Eh? eh? Let him sell it me, and he’ll 
be relieved of it, and I’ll be richer by a penny. 
But I can guess what it is. [ Children cry “No 
you can’t ”\ My little bird here told me. 

Children. We don’t believe in your little bird. 
Go-between. Ah, but my little bird knows 
everything. I wouldn’t sell him, not for a hundred 
pennies. 

[He puts down pack and bird-cage up 
C. Children crowd round there 
looking at wares, etc. Jack comes 
forward to pedlar L.C. 

Jack. Who are you? 

Go-between. Go-between the pedlar. 


68 THE ROBBER BRIDEGROOM [act i 


Jack. What do you know? 

Go-between. Know? Everything. Not a secret 
in the land but I know it, and hand it about. 
That’s what I’m good for, master. 

Jack. Do you know the rich miller hereabouts? 

Go-between. Ah, that I do. He that has a 
pretty daughter, and a silly dame. Oh, I’ve had 
business with both. I sell silks to the dame, and 
to the maiden I sell- 

Jack. What? 

Go-between. Secrets! That pays still better. 
[Jingles pouch.] I say that this and that young 
fellow is dying of love for her. They pay me to 
tell, and she pays me to hear. At least her aunt 
does. Oh, I’ve made a power of money out of 
Miller’s May. 

Jack. Well, now, suppose I had a friend, and 
the friend was courting Miss May, an accepted 
suitor- 

Go-between. Accepted? Never! There’s an 
end of money in that direction. [Turns to chil¬ 
dren.] Shoo, you little rascals. Shoo! 

Jack. Suppose my friend wanted to please her, 
and make her happy. 

Go-between. Isn’t the bride happy? 

Jack. What should he do? 

Go-between. He should give her pretties: I’ve 
a plenty here. [To children.] Shoo! See there! 
— and he should hire me to tell her things. 

Jack. What things? 

Go-between. Why, anything! I’ve a dozen 
tales of fine bridegrooms, and for a penny down 
he can have any of them, or sixpence the lot. 

Jack. Doesn’t it matter what my friend really 
is? 



sc. n] THE ROBBER BRIDEGROOM 69 


Go-between. Not a bit, so he be rich to pay 
for tale-bearing. 

Jack. You’re the man for me. He’s rich enough, 
but tongue-tied. 

Go-between. [j£y] What is he, by the way? 

Jack. Ah! [Gives money. ] He’s as good a 

man as I am. 

Go-between. And what are you? 

Jack. Lighting’s my trade. I guide poor way¬ 
farers through the forest there. 

Go-between. [shrinking] Are you he they call 
Jack-o’-Lantern? 

Jack. Why not? Shall I guide you, next time 
ypu travel townward? [Turns light on.] Shall 
I guide you? 

Go-between. N-no, sir. Kind sir, what is your 
will, or your friend’s will? It’s all one to me 
[quavering] so he p-pay for it. 

Jack, [snaps off lantern] Admirable. My 
friend is a mighty lord. He lives beyond the 
marshes there in his marble halls, and so on. 
Maidens have died for love of him, and so forth. 
Make the best of that, now, and charm the ladies. 

Go-between. That I will. 

[Exit Jack into house L. Go-between 
takes an instrument out of pack 
and returns L.C. under May’s 
window. Children retire into hid¬ 
ing , except Nettie, who peers in 
round door once or twice during 
song , and finally takes seat be¬ 
neath board down R. to listen. 


70 THE ROBBER BRIDEGROOM [act i 

Song —Go-between. 

Air —“Gossip Joan.” 


i. 

Good morrow, Miller’s May, 
I hope I don’t importune, 

I have for you today, 

I have for you today, 

A budget of good fortune, 
Miller’s May. 


ii. 

You’ve made a conquest grand, 

I hope you won’t deride him, 

The noblest of the land 
(I have it at first hand) 

Would look poor things beside him, 
Miller’s May. 


hi. 

He owns a castle-keep 
Out there beyond the marshes; 
They say the king can’t sleep, 
With envy fierce and deep, 
Perhaps the judgment harsh is, 
Miller’s May. 


IV. 

His skill with sword and bow 
Is really most impressive, 

He scares the doughtiest foe; 
And slays seven at a blow, 
Perhaps the tale’s excessive, 
Miller’s May. 


sc. II] THE ROBBER BRIDEGROOM 71 


V 

His figure’s neat and fine, 

His face is perfect nearly, 

They say that maidens nine 
Have died in a decline, 

They loved him so severely, 

Miller’s May. 

[Between Verses I. and II. Go- 
between pauses to listen; then 
shakes head and continues. At 
end he waits again, puffing and 
peering at window. 

Go-between. Well, well, if that’s not a good 
song for a penny, I don’t know what is. It’s 
double measure. 

Nettie. It’s a twopenny song. 

Go-between. What? 

Nettie. I’d sing her myself better than that. 

Go-between. You would? And who are you? 

Nettie. Nettie the gypsy-girl. I live in the 
forest, like Robin. I know about that castle you 
sing of more than you do. [ Enter Robin R. with 
hatchet on shoulder .] Robin knows what I do, 
don’t you Robin? We don’t believe your silly 
songs. 

Go-between. Smudgy gypsy brats! As if it 
matters what you believe. Give me my pack. I’ll 
try the aunt now. She'll believe anything. 

[Exit Go-between to house. Robin 
advances C. 

Nettie. Robin, the bridegroom and the Miller 
have settled it. May is to marry him next week. 

Robin. Next week? [Nettie nods.] You’ve 
been listening at the door, Nettie. 


72 THE ROBBER BRIDEGROOM [act i 


Nettie, [nods] Gypsies do things like that. 
For other people, it is naughty: not for them. I 
was badly brought up. [ Crosses L. and pirouettes.] 
See me dance, Robin. 

Robin. Not today. I must think about this. 

Nettie. I’ll think too. [ Returns to seat, and 
sits, finger to forehead: then jumps up.] Why, 
there’s my bird! 

Robin, [looking at bird-cage] It’s the pedlar’s 
bird. 

Nettie. It’s my bird. All the birds in the forest 
are mine. Ha, ha! I shall pay the pedlar out 
for his story-telling. [Opens door of cage, and 
claps hands.] Fly, my pretty one, fly. There it 
goes. [Follows it with her eyes.] Now it’s mine. 

Robin. It’s a wise bird. It tells the pedlar 
things — secrets. 

Nettie. Well, it shall still tell secrets if it likes 
to. Only if it likes. My bird, my bird! Hark! 

[A bird-trill or chirrup heard. Re¬ 
enter children clamouring. 

All. Oh, oh, the pedlar’s clever bird has es¬ 
caped! We heard it whistle. 

Nettie. Hush! I have news for you, sadder 
than that. It’s about our playmate May. 

[Children stand in semicircle across 
stage. Nettie whispers them all 
in turn. 

Girls. Next week? 

Boys. Next week? 


sc. II] THE ROBBER BRIDEGROOM 73 

Song with Action and Dance ad lib . 

Air —“Sally in our Alley.” 

[Slow and tender A 

Girls. 

Alas, our May that might-have-been 
Is marrying the stranger, 

We hoped she would be May the Queen, 

But now we have to change her. 

Boys. 

How glad we were, an hour ago, 

How sad is now the sequel: 

For seek we high or seek we low, 

We ne’er shall find her equal. 

[All repeat chorus. 

Girls. 

With cowslips and with lilies fresh 
And hyacinths we’d have crowned her, 

A lamb’s-wool cloak of finest mesh 
We’d woven, to throw around her. 

Boys. 

With many a green and leafy bough, 

We’d built a throne so shady. 

And shall we lose our labour now 
That May’s become a lady? 

[They point to Nettie, and ring her 
round. 

Girls. 

She’s not so gentle or so wise, 

She’s not so kind or pretty: 

But now that May’s the stranger’s prize 
We must put up with Nettie. 

Boys. 

She’s brown and badly dressed, I ween, 

She’s naughty, too, I’ll bet ye: 

But now that May’s another’s queen, 

We must put up with Nettie. 

[Ceremony of crowning, etc. Curtain.] 


ACT II. 


Scene I.— The Forest. Path from Millers house 
comes in L., the marsh is up R. with a just- 
indicated ash-path across it, reaching stage. 
Up L. is a wing or bush, as cover for robbers. 
The singers of the bird’s song may also be 
concealed here: or may be in orchestra, front 
of stage. 

[Enter Jack R., with lantern unlighted .] 

Jack. A gray evening — a good evening. We 
shall have game soon. Perhaps a schoolboy playing 
truant, perhaps a fat farmer from market, perhaps 
a pretty girl — why, the fair May herself might 
come, for Greyskin asked her to tea — any day. 
Ha, ha! He bade me lay that nice path of ashes 
over the marsh for her fairy feet. Ha, ha! He 
wants her to get safe across, for once: safe to 
his marble halls; so he spoiled my game, ha, ha! 
[He flashes the lantern and lifts it .] Here comes 
somebody. I will disguise myself. [He pulls a 
hood and cloak over him, and hides up L. Enter 
Nettie and Robin L. by path.] 

Nettie. Yes, he did: he asked her to tea, I 
heard him. 

Robin. Nettie, you’ve been listening at the 
door. 

Nettie. No, since they crowned me Queen I 
don’t do things like that. I was only just straying 
around the arbour where they were talking, and I 
happened to hear. She was to go to tea at the 
Castle — any day, he said. She said, some day. 

Robin. Well, why shouldn’t she go to tea, some 
day. 


sc. I] THE ROBBER BRIDEGROOM 75 


Nettie. Robin! It’s over the marsh. 

Robin. [c/Tm] He wouldn’t eat her. 

Nettie. I’m not so sure of that. There are 
signs I do not like. See this path of ashes — who 
put that down? 

Robin. It’s a path, sure enough. 

Nettie. Yes, but think how easily ashes blow 
away. A path is no path unless it stays there. 

Robin. You’re very clever. 

Jack, [aside] Too clever. Gypsies are sor¬ 
cerers. Something, I think, should be done with 
this girl. I must consider what. 

Nettie. And several times I have seen the flash 
of Jack-o’-Lantern over there, these gray evenings. 
And then, the birds! 

Robin. What of the birds? 

Nettie. Since I let the pedlar’s clever bird out, 
I have heard warnings, up in the trees, all about 
this part of the wood. [A bird whistle.] Listen! 
That is he. What does he say to you? 

Robin. Nothing. 

Nettie. To me it makes sense. 

[A whistle, soft music, and first four 
lines of the bird’s song are heard 
distinctly. 


Bird’s Song. 

Air —“Gaudeamus igitur.” 

Turn again, my bonnie bride, 
Turn again, we warn you! 

Go not from your father’s side, 
Lest the birds should mourn you. 


76 THE ROBBER BRIDEGROOM [act ii 

Nettie. Do you hear that? She must be coming. 

Robin. Coming? [He crosses to L. and sees 
Jack disguised in the path.] What nonsense you 
do talk, Nettie. It’s only a silly old woman. You 
and your birds! 

Nettie. Oh Robin, how can you say such things 
to me — and when I am trying to help you! 

Robin. Help me? 

Nettie. Of course. Don’t I know you always — 

Jack, [advancing L\ My pretty young lady 
— my good young gentleman, don’t fall out, now, 
on a fine evening. Will you buy some fine marsh- 
marigolds? 

Nettie. No, thank you. [Hesitates.] Oh, they 
are fine ones. Where did she find them? 

Jack. Out there on the marsh. [Points R.] 

Nettie. ) But isn’t it dangerous? 

Robin. ) 

Jack. Oh no, perfectly safe at this time of year. 
Even an old body like me can pick flowers for the 
market easily. 

Robin. There, Nettie, there’s no danger! You 
and your silly birds! 

[Bird whistle. Exit Robin L. 

Nettie. But, Robin — Robin, don’t go! I’m 
sure something will happen soon. [Bird whistle • 
owl hoot: stage grows dark.] Robin! Oh! 

[Jack throws off cloak , and two Rob¬ 
bers overpower Nettie, and carry 
her step by step across the marsh. 
Flashes in distance R. Owls hoot 
again. Silence: light grows. Enter 
May L. 

May. I wonder if we are going to have a storm. 
It looked so dark lately, [flash R.] and I’m sure 


sc. i] THE ROBBER BRIDEGROOM 77 

I saw lightning. Can this be the way? Oh, yes, 
it must be — what a nice ash-path. 

[She moves R. but stops at a strain 
of music . 


Bird-song as before. 


i. 

Turn again, my bonnie bride, 

Turn again, we warn you! 

Go not from your father’s side, 

Lest the birds should mourn you. 

O be heedful, it is needful, 

Do not wander over yonder, 

Turn again, bonnie, bonnie bride. [Twice.] 


ii. 

Turn again, my bonnie bride, 

Turn again, we entreat you. 

Go not where is none to guide, 

Where the marsh-lights cheat you. 

On the track now see them hover, 

Turn you back now to your lover, 

Turn again, bonnie, bonnie bride. [Twice.] 

May. How curious! I am sure I heard music. 
[Flash.] It is quite true there are funny lights 
down there. But — oh, what beautiful marsh- 
marigolds! I really must pick a few. 

Enter Grist up R. 

Grist. Oh dear, oh dear, she’s lost. She’s lost. 


78 THE ROBBER BRIDEGROOM [act ii 

May. [turning back ] Who is lost? 

Grist. Nettie. You know Nettie, her that 
dances — so! [He imitates , then recognizes May.] 
Why, it’s you, Miss! 

May. Grist, you silly boy, what are you doing 
out of father’s mill? 

Grist. I’ll tell you. I’m Prime Minister. 

May. What? 

Grist. To the May Queen. That’s Nettie now, 
her that’s lost. [Relates.] It was all dark and 
queerish, and I heard a scream. [Hugs himself.] 
They birds whistled rarely. 

May. Oh, nonsense! Grist, you were always 
a silly boy. 

Grist. It’s a kind of wool in my head, comes 
of snuffing up the flour. How fine you are, Miss! 

May. I’m going to a party, at a Castle. 
[Curtseys.] 

Grist. I’ll come along, for to take care of you. 

May. Poor boy, you’d better take care of your¬ 
self, and go straight back to the mill. You know 
the way, don’t you? What are those? 

Grist, [who has produced a handful of beans] 
Peas and beans, to find the way with. [Relates.] 
We take wheat-flour, and we take rye-flour, and 
when that’s short we take pea-flour and bean-flour 
and mix it in. Cheaper, but sell un dear. That’s 
how Miller makes his money. 

May. I am sure it can’t be! Father make 
money like that! But how can they show you 
the way, Grist? 

Grist. I’ll tell you. Because if there’s a hole 
in your pocket, they fall out, and take root, and 
grow, and grow, this side, and that side, and you 
see the way easily. [Coaxing.] Take some of 
them in your pocket, Miss. 


sc. II] THE ROBBER BRIDEGROOM 79 


May. [ laughing] Poor boy, I have no need 
of beans. Look at these nice ashes, laid ready. 
The path is straight and clean. 

[Grist picks up ash, looks at it, puffs 
out cheeks, blows, shakes head: 
then turns and thrusts beans into 
May’s hand. 

Grist. Look you, Miss, you take un. There! 

May. [taking them and waving hand] Good¬ 
bye, Grist, I shall be late for the party. 

[She goes R. by ash-path. Grist goes 
L., unwillingly, turning every 
minute. Stage darkens, owls hoot. 
He is seized and carried off like 
Nettie, only L. Silence, then 
Jack comes dancing across front 
of stage L. to R., carrying a bird¬ 
cage, and pointing with triumph 
to feathers within. 

[Curtain.] 


Scene II .—The Wolf’s Castle. A rough kitchen: 
tripod and pot for cooking up L.C. Bird¬ 
cage hanging down R. Large cask down L. 
with small table for glasses, etc. Entrance L. 
behind it. Robbers’ Nurse enters R., calling. 

Nurse. Gruffy! Grizel! Where have those chil¬ 
dren got to? Gruffy! Grizel! I know they’re 
after those chickens again! Whatever will their 
big brother Wolf say, when he gets back from 
the old world with Master Jack! 


80 THE ROBBER BRIDEGROOM [act ii 

Song — Nurse. 

Air —“My Lodging it is on the Cold Ground.” 


i. 

My lodging it is in a Castle, 

But hard, very hard is my lot, 

For these kind o’ children they have here 
Are the worst that were ever begot. 

And still I cry for the old world, 

Where once I was living so free, 

And the good little, smooth little children, 

And a proper kept nursery. 

For this one isn’t decent-looking, it really isn’t. 
There’s another bone Gruffy has brought in. The 
child he is! [ Throws it away, and moves about 
tidying, while she sings.] 


ii. 

I’m servant to people of fortune, 

But hard, very hard is my life; 

Now big brother Wolf’s gone a-courtin’, 

Will have goodness knows what for a wife! 

But still I sigh for the old world 
Where once I was living so free, 

And a nice looking Missus to work for, 

And a proper kept nursery. 

[Stops in front of bird-cage R.] 

Where’s that bird come from, now? That’s 
something they brought in. Seems alive, though 
you wouldn’t think it, knowing their ways. Ah, 
poor thing, it’s caged, like me.’ [Weeps.] And 
all I ask is something to care for! 


sc. II] THE ROBBER BRIDEGROOM 81 

Bird-song [two lines.] 

Turn again, my bonnie bride, 

Turn again, we warn you. 

Nurse. [starts] Well, I’m blest! What’s 
that? 

[Steps — she hides, down L., behind 
cask. Enter May L. 

May. Again? That is the voice I heard in the 
wood. But how can I turn, dear bird? I do not 
even know where I have got to. It must be the 
Castle, but it does not look like one! And where 
is Greyskin, my bridegroom? [Sees Nurse.] A 
human being, at last! Please, ma’am, would you 
tell me- 

Nurse, [nervous] Eh? What is it? 

May. Does my bridegroom live here? 

Nurse. Your bridegroom? . . . Ah, poor bird, 
poor bird! 

May. [trembling] What do you mean? 

Nurse. You’re another of them. You have 
flown straight into the snare, like the rest. 

May. What? 

Nurse. There have been nine, nigh as pretty 
as you, the Wolf has caught. Poor flutterer! Did 
no one warn you of your danger, coming here? 

May. A Wolf? [Covers her face.] Ah, the 
voices in the woods! Birds, my friends, why did 
I not heed you? [Sinks into chair, i?.] But that 
friend of his, so polite, so obliging- 

Nurse. Jack — Jack-o’-Lantern — false Jack, a 
friend indeed, who sets his snares. 

May. They are robbers, then? 

Nurse. All wolves are robbers, murderers too. 
Had you no shepherd, poor lamb? [May shakes 

F 




82 THE ROBBER BRIDEGROOM [act ii 


her head.] Ah, it is a nurse you should have 
had! [Wipes eyes.] Just such a one I could 
have cared for, in the old world! 

May. Nurse, O mother, help me then! [Growls 
heard without.] What is that? 

Nurse. That’s the children. They scratch a 
bit, but nothing to matter: not much nip in them 
at present. All the same, they might snuff you. 
You had better hide. 

May. Where? 

Nurse. Here, behind the cask. Quick! [May 
hides down L. behind cask.] Lie there soft and 
silent, no motion, lest death befall you. 

[She sweeps room again, singing. 


Song — Nurse. 

Air —“How should I my true Love know. ,, 

How should I my false love know 
From another one? 

By his hairy long gray ears, 

And his honey tone. 

He is not your love, ladye, 

He’s a wolf beside: 

And with Death you’d wedded be, 

As the Robber’s Bride. 

[Enter Grizel and Gruffy, softly L. 
Gruffy knocks Nurse’s cap off, 
then both dart at the bird-cage. 

Gruffy. I’ll kill it. 

Grizel. No, I’ll kill it. [Both seize cage.] Oh, 
nurse, he says he’ll kill it, and I do want to so! 
Nurse. Oh, sakes of mercy, the children they 


sc. II] THE ROBBER BRIDEGROOM 83 


are! You can’t both kill it. Let the poor thing 
alone, it sings so pretty. 

Gruffy. It’s my bird, Jack gave it me. 

Grizel. [whining] No, it’s my bird. Jack said 
it should be my bird, and I could kill it all myself. 

Gruffy. [letting go the cage] Oh well, I don’t 
care. Jack will catch me others — there’s better 
game. I say, Nurse! [Hallos in her ear.] Nurse! 

Nurse. Oh lawk-a-mercy, the boy you are! 
Grow up just like Big Brother, you will. 

Gruffy. I hope so. Then I’ll kill better than 
birds. Oho! What do you think they have got 
this time, Nurse? You’ll never guess. 

Grizel. Oo—ooh! No, you’ll never guess. 

[Chuckles.] A girl! 

May. [aside] Alas, my heart! I shall die of 
fear, in this dreadful place. 

Nurse. Lawk-a-mercy! Not a tenth? 

Gruffy. What do you mean, Nurse, a tenth? 
She’s a girl, rather a good one — Jack’s got her. 
She’s a gypsy-kind, sings, dances, fights—! She 
nearly got off, once. You never saw such fun. 
Nothing to the fun they’ll have with her tonight, 
though. 

May. Alas! 

Gruffy. I’m for putting her in a cage. Then 
she could sing to us — like that bird. Just for a 
time, Nurse — like that bird. 

Grizel. [whining] It’s my bird. 

Gruffy. There was a boy, too, they caught. A 
white boy. 

May. My poor Grist! 

Gruffy. But they dropped him again, he was 
such a silly. Jack dropped him in the marsh, oho! 
— in the blackest pool. When he crawled out, 
half-dead, he wasn’t a white boy. Almost as good 


84 THE ROBBER BRIDEGROOM [act ii 

as drowning him, that was. Oh, I thought I should 
die! 

[i Sinks into chair R. Grizel opens 
door of cage, takes a bunch of 
feathers from it, and prepares to 
steal out. 

Grizel. I ? ll kill it now. [Exit R.] 

Nurse. Lawk-a-mercy, what awful children! 

[Noise heard without, L. Enter Rob¬ 
bers and Jack, with Nettie 
bound and blindfolded. 

Grey skin, [to Robbers] Put the girl down, 

anywhere, I’ve had enough of her. 

Jack, [rubbing scratches] So have I. 

Robbers. So have we, my lord. 

[They deposit Nettie under cage 
down R. 

Gruffy. Then can I have her, big brother? 

Jack. No. And you get away, meddling. I 
gave you a bird. 

Gruffy. I said it was mine. Grizel’s got it. 
Greyskin. Oh, then it will be safe enough. 

Bird-song [faintly.] 

Turn again, my bonnie bride, 

Turn again, I warn you, 

Haste you from the- 

[Voice stops as though choked. 
Gruffy. Did you hear? [Imitates choking .] 
Ha, ha! 

Greyskin. Those singing-birds seem to haunt 
me. I always did hate singing. 

Robbers. Except ours, my lord. 

Greyskin. [dark] I put up with yours. Where’s 
the wine, men? 



sc. II] THE ROBBER BRIDEGROOM 85 


Gruffy. [crossing L .] I’ll mix it, big brother. 
Red wine, and white wine, and yellow wine. Such 
a dose she shall have, when she’s sung to us. 

Jack. Like the others. 

Gruffy. Big brother, tell me about the others. 
Why are there nine? 

Greyskin. That old hag has been talking. It’s 
time we put an end to her. 

Gruffy. Oh, may I have her, big brother? 

Greyskin. Take care I don’t finish you too, you 
little knave. The drink, men, I say! My drink, 
not the prisoner’s. When I have drunk, it will 
be her turn. 


Drinking Song — Robbers. 

Air —“Down among the Dead Men.” 

i. 

O here’s to the health of the Robber horde, 

And here’s to your luck in the hunt, my lord! 

The shepherd’s too sharp, and the sheep dog too, 
But they’ll never get the better of Greyskin’s 
crew. 

Chorus — 

And he that would this truth deny, 

Down among the bread-crumbs let him lie! 

Jack. Drink to the bride. 

Robbers. Ha, ha! 


ii. 

O here’s to the health of the Robber’s bride, 
The nicest little lamb in the world so wide, 
She’s not ventured yet to come to tea, 

But when she does come, you won’t miss me! 


86 THE ROBBER BRIDEGROOM [act ii 


1st Robber. You won’t have a sight on her. 

2nd Robber. Then you won’t neither. 

1st Robber. Would you? 

2nd Robber. Would you? 

[They fight, singing. 

And he that would this truth deny, 

Down among the bread-crumbs let him lie! 

Robber. My lord he don’t seem to be liking 
our singing much. 

2nd Robber. That was your singing like a nut¬ 
meg-grater. 

1st Robber. No, it was your cock-crowing did 
the trick. [They brawl. 

May. Heaven help me! 

Grey skin, [gloomy'] She’ll never come here, 
Jack. I wish I had never seen the girl. 

Jack, [sulky] I wish you hadn’t either; she 
is more trouble than all the rest put together. 
There are those ashes I put down for her, fresh 
every day. Everyone likely to advise her for her 
good, I throttled promptly; but herself I cannot 
catch. 

Nettie. You never will! 

Grey skin. Ah! Give that girl something to 
quiet her, men. 

Gruffy. Oh, let me! 

[Tableau. Gruffy hands three glasses, 
red, white, and yellow. Nettie 
sips each, and jails fainting. 
Gruffy dances for joy. Robbers 
sing last verse of song. 


in. 

Oh here’s to the power of the Robber band, 
And nobody shall that power withstand. 


sc. II] THE ROBBER BRIDEGROOM 87 


A bird may be clever, a girl may be vain, 
But Greyskin’ll go one better, that’s plain. 

Chorus —And she that will, etc. 


[They prepare to carry her out, when 
Gruffy sees the ring. 

Gruffy. She’s got a ring on her finger. 

Greys kin. Hold, that’s mine! 

Gruffy. No, it’s mine. I saw it first. 

[He snatches it, Greyskin springs up, 
boxes his ears, and rolls him over 
towards L. 

Greyskin. Where’s the ring? 

Gruffy. [blubbering] I’ve not got it. I think 
it flew behind the cask. 

[May holds up the ring to audience. 

Greyskin. Can’t you be quiet? Men, get a 

light. 

[Robbers get a light and look tipsily 
about . Nurse advances from L. 

Nurse. Come, let me fill your glasses, sirs. The 
ring will be safe enough till tomorrow. It won’t 
run away, I’ll warrant. 

[Tableau, drinking. Nurse steals be¬ 
hind, and drops powder in glasses. 
Robbers fall asleep . May steals 
out, Nurse beckons her. 


Nurse. Wait till I get my cloak and lantern, 
pretty; then we will both make off from this 
murderous den. Oh, if only the ashes be not blown 
off the path! If so, we may yet be drowned for 


our pains. 


~' ’ hirrl Hirl shfi Slav 


88 THE ROBBER BRIDEGROOM [act ii 

Bird-song [ clearly .] 

Turn again, my bonnie bride, 

Winds the ashes scatter. 

Black the marsh lies, black and wide, 

Wait, what does it matter? 

Peas and beans the white boy gave you, 

They have fallen, they will save you, 

Smile again, my bonnie bride. [Twice. 

May. Hark, did you hear anything? [Feels 
her pocket .] Why, they have all fallen out! 
Nurse. What? 

May. Peas and beans the white boy gave me. 
Something made me think of them. There must 
have been a hole in my pocket. 

Nurse. Never mind, pretty, I will mend it. 
Anyhow, it will help us to find our way. 

[Exeunt L. Curtain.] 


ACT III. 


Same Scene as Act I.: evening light, 
darkening during the scene. 

[Cushions or seats for the bride 1 s party L. of stage, 
and bridegroom’s party R., so that bride and 
bridegroom are next each other C. Place for 
a fire L.C. with sticks laid. Dame Nancy 
discovered counting seats.] 

D. Nancy. Six this side for our party, seven 
over there for the bridegroom’s. Thirteen to a 
wedding supper! —that will never do. And one 
makes fourteen: I dare say the pedlar will sit 
down with us. If it were not for the dear pedlar, 
going and coming between our poor home and the 
Castle, I don’t know how this marrying would ever 
have taken place. But Go-between is so trust¬ 
worthy— there he is! 

[Enter Go-between from R. carrying his pack 
with parcels, also the cauldron and tripod of 
Act II. He sings as before .] 

Song — Go-between . 

Air —“Cockles and Mussels.” 

From a certain great mansion, 

Where things are so handsome, 

A-hawking, a-talking, a pedlar I come. 

A secret I’m spreading 
Don’t miss this rich wedding, 

The fair will be there if they’re wise, a wise O. 
Lovely dames will be there, etc. 


90 THE ROBBER BRIDEGROOM [act hi 


D. Nancy. Highty-tighty, flatterer! Come now, 
what are the bridegroom’s latest wishes? 

Go-between. Short shrift to ceremony, ma’am, 
and no lack of liquor. 

D. Nancy. What, no speeches? 

Go-between. Certainly not. Story-telling about 
the pot, in which the supper is broiling. [He puts 
down the cauldron.] Something homely and simple 
and soon over: except the drinking, and that may 
last all night. 

D. Nancy. How very gentlemanly! 

Go-between. Here are the bottles, which I pro¬ 
cured for Sir Mummery at a bargain. These are 
gifts for the bridesmaids, and that a purse for the 
singers. 

D. Nancy. You are the only musician. 

Go-between, [pocketing purse] So I thought, 
dear lady, so I thought. [He places bottles, 
singing.] 


Air —“The Wraggle-Taggle Gypsies.” 

Oh, when you manage for a gentleman, 

Then there is no mistaking O, 

He finds the cash, and fills the can, 

And all for the merry, merrymaking O. 

He looks around him for a man of sense, 

Whom there is no mistaking O, 

To bustle between and save his pence, 

And manage the merry, merrymaking O. 

He pays me a penny an hour, he does, for 
managing. Now, ma’am, you remember our order. 
[Reckons on fingers.] First, the bride’s party, 
by her best friend. Next, the bridegroom’s party, 


act hi] THE ROBBER BRIDEGROOM 91 


led by his best friend. Next, they all sit down 
to eat about the fire. Next, they all tell stories. 

D. Nancy. Stories? What kind of stories? 
Will riddles do? 

Go-between. No: ghost stories, by torch-light. 
Something about corpses, to make your blood 
curdle, is the bridegroom’s idea: of course with 
a fashionable turn. 

D. Nancy. Mercy on us, brother Peter will 
never do it. His stories are only fit to send you 
to sleep. Dear pedlar, you must help us! Pray 
find something fashionable. 

Go-between. Trust me, trust me! I will sing 
them a ballad I have by me this long time. Three- 
and-forty verses, and a chorus to each [aside], 
and a penny a minute for singing it. [Jingles 
pocket.] Ah, ah! my pennies are mounting up. 
[To Dame Nancy.] There now, all is ready, and 
pretty it looks. I have but to warn the girls, who 
are waiting yonder. Is the bride prepared? 

D . Nancy. I will see. 

[Exit Dame Nancy into house , L. 
Go-between goes up R.C. Enter 
R. the girls, straying in, and sit 
languidly C. 


Chorus — Girls. 

Air —“Eileen Aroon.” 

What’s this dull wedding-day? 

Robin is glum: 

Nettie is stolen away: 

Our bird is dumb. 


92 THE ROBBER BRIDEGROOM [act iii 

We are well-dressed, it’s true, 

Trinkets and ribbons, too, 

All Greyskin’s wealth can do: 

Joy will not come. 

[Go-between bustles forward, a scroll 
or programme in his hand. 

Go-between. Girls, girls, this will never do. 
Where is all my teaching? You are to be merry, 
and cluster about the bride. [ Begins to marshal 
them, but looks about.\ Where is that gypsy- 
girl? She was to lead you, on my list. 

Girl. Nettie is lost. 

Go-between. Tut, tut, she ought to know better, 
when she is on my list. [Looks about suspiciously .] 
That black boy, I hope he is not among you. 

2nd Girl. Robin is sulky. He is working in the 
wood. 

Go-between . Working? [Peers in each face in 
turn.] Working? Working? [Hobbles away.] 
Well, he’s not wanted. There was a white boy, 
too. 

1 st Girl. Grist, yes. We have done our best 
to clean him, since his misadventure in the forest 
pool; but he is not as white as he was. 

2nd Girl. And he’s sillier than ever. You should 
hear him tell the tale of how it happened! 

Go-between. Eh? Well, if he can tell a good 
story, we will have him, silly or no. [Pompous.] 
Tell him that Sir Mummery’s major-domo requires 
his presence. 

1 st Girl. I think Grist will come, anyhow: he’s 
so foolish, you know. But nobody ever attends to 
him. 

All. [absently and sing-song] No, nobody ever 
attends to him. 

2nd Girl. Except May. 


act m] THE ROBBER BRIDEGROOM 93 


ltf Girl. Oh yes, May is kind to Grist. But 
she doesn’t love him like Robin. 

All. [#$ before] Oh no: she doesn’t love him 
like Robin. 

Go-between, [scandalized] Hey, hey? What’s 
this nonsense about loving? Get you gone, you 
little hussies, wasting my time: which is precious, 
a penny a minute! 

All Girls. I’m sure we meant no harm, Mr. 
Pedlar. 


[Exeunt girls to house L. arm-in-arm 
and giggling. Soft music of 
“Eileen Aroon.” They return 
drawing May with them } in bridal 
dress, and followed presently by 
Miller and Dame Nancy. Girls 
group round May L.C. and sing 
quietly . 


Chorus — Girls [<zs before]. 

What’s this dull wedding day? 

Robin’s not here. 

Nettie is stolen away: 

No bird to cheer. 

Skies are so dark and stern, 

For some new sign we yearn, 

Bird, O our Bird, return, 

Sing to us, dear! 

1st Girl, [shivering] Oh, how dark it is get¬ 
ting! I don’t like wedding parties in the twilight, 
do you? 


94 THE ROBBER BRIDEGROOM [act hi 

[Stage darkens. A jingle in distance. 
Grieg Wedding March heard. 
Enter Robbers and Wolf-chil¬ 
dren with lanterns R., led by 
Jack dancing* They group 
themselves. Girls shrink away. 
Then enter Greyskin, and sits 
by May C. 

Go-between, [rather nervous, rubbing hand] 
Merriment, how, my masters, merriment! Eat, 
drink, and be merry 1 

Robbers. Ha, ha! [ Girls shrink away. 

Miller. I hope you are well served, sir. I trust 
everything is as a gentleman would wish. 

Go-between. These girls are as nicely got up 
as I could manage. The music is as cheap as I 
could get. The flowers are a regular bargain. 

Greyskin. Flowers, forsooth! What’s in the 
pot? 

Miller. A nice young kid, so please you: as 
tender-broiled as we could make it. 

Robbers. A kid! Ha, ha! 

Go-between, [behind his hand, over Greyskin’s 
shoulder] What do you say to the bride? She’s 
tender also, eh? 

Greyskin. Something white and proud, but 
she’ll do. 

Go-between. She’ll brighten up. Stories, now, 
stories! Who has a pretty tale to tell the 
company? 

Jack. Peter Miller! 

Miller, [clearing throat] I went to the market 
on a Saturday — I’d rather not, your honour. I’m 
feeling queerly. Where’s Grist? 

* A Morris dance may be introduced here. 


act hi] THE ROBBER BRIDEGROOM 95 
Enter Grist R. He is black and smudgy. 

Grist. Here I be, sir. 

Miller. Tell them what happened to you in the 
forest, Grist. 

Grist. That I will, sir. It was this way. [ Re¬ 
lates .] I was doing nothing of, as I knows on, 
same as I always does, your honour. And up he 
comes. 

All. Who? 

Grist. And he does it. 

All. What? 

Grist. And over I goes into the marshy, same 
as a marshy-marigold. And “would you?” I says, 
but I couldn't speak. And he laughed, only he 
wasn't there. 

Jack. Ha, ha! 

Grist. Nobbut a light jumping. And the bog 
was white with me, and I was black with it, and 
wasn't I streaky-like when I got home! Most like 
a lollipop bull’s-eye. Ho, ho! 

Jack. Ha, ha! And was that all? 

Grist. [stops laughing and gapes at him] Only 
the flashes like. [Flash: he gapes.] And they 
birds did whistle rarely. 

May. Hush! [A bird-trill heard: then again.] 
Was it like that, poor boy? [Grist's gape turns 
to a grin. He nods slowly. Music heard.] 


Bird-sohg. 

Turn again, my bonnie bride, 
Your poor bird doth pray you. 
Hasten from the robbers’ side, 
Lest like her they slay you. 


96 THE ROBBER BRIDEGROOM [act hi 

Wine so mellow, 

White, red, yellow; 

She who spied it 
May not hide it, 

Turn again, my bonnie bride. [Twice. 

^ Grey skin. How the owls are hooting tonight! 
Come now, a good story, spicy, well-seasoned! 
Pedlar, where is the ballad you promised us? 

Go-between. I’m feeling rather hoarse, your 
honour. It must be the night air. 

_ Girls, [whispering down L ] Was it Nettie 
singing? Or was it the pedlar’s bird? Did you 
hear what it said? 

[All draw away from Robbers. May 
only left in center with Greyskin. 

Greyskin. Come, will nobody oblige the com¬ 
pany? [Pause. ] 

May. I will, sir. 

All. You? 

May. Why not, since merriment is needed. 
Who should be more merry than I? 

Robbers. Who indeed? Ha, ha! 

Jack. Hush, behind there! Listen to the bride. 

May. It is a dream I had: only a dream. I 
once thought I was going through a wood on a 
gray evening, and on, and on, over treacherous 
ground where I had to pick my way. And I came 
at last to a dwelling where there was not a soul 
to be seen, room after room, except a bird in a 
cage, which cried —“Turn again,” very like that 
owl we heard lately. [Greyskin moves.] I only 
dreamt this, my lord. Then a very old woman 
appeared, and I asked her — “Does my bride¬ 
groom live here?” And she said —“Poor bird, 
have you fallen in a snare, like the others?” I 


act hi] THE ROBBER BRIDEGROOM 97 


only dreamt that, my lord. But she hid me behind 
a cask. And hardly had she done so, when the 
most terrible creatures came in, shaggy like wild 
beasts, and dragging a poor girl with them. And 
they gave her to drink three wines, red, white and 
yellow, till she lay for dead upon the ground. 
[Robbers rise.] I only dreamt that, my lord. 
But there was a gold ring on her hand; and cov¬ 
etous they strove for it. But it flew off into the 
air, and then dropped behind the cask where I 
was hiding. And here it is! 

[She holds up ring. Flash of lightning. 
All rise. 

Girls. Nettie’s ring! 

Grey skin and Jack, Lies! Lies! 

[Greyskin springs on May. 

Miller. Murderer, would you marry my 
daughter? 

[He stabs Greyskin, who staggers and 
falls dead. Growl from wolves. 
Robin and Grist appear from R. 
with hatchets, kill Gruffy who 
has seized May, and drive Rob¬ 
bers off the stage: Robin, hatchet 
on shoulder, coming finally back 
behind R.C. May kneels L.C. at 
Greys kin’s head, hands clasped. 

Jack, [dodging Grist about stage] Ha, ha! 
You’ll never catch me! 

Go-between. My pennies, my pennies! The 
wealth of the Castle is mine! 

Jack, [holding up lighted lantern] Come over 
the marsh and get it, pedlar! Come over the 
marsh and get it! [Exit Jack R. 

1st Girl, [advancing] But Nettie’s ring be- 
G 


98 THE ROBBER BRIDEGROOM [act hi 


longed to the gypsies, May. It was a magic ring, 
she told us. 

Nettie. [appearing behind C. with bird-cage ] 
Magic! 

All. Nettie — our queen! 

Nettie. No queen of yours, but the bird-queen. 
Knew you not that I and your wise bird were 
one? 

All. Our bird! 

[All kneel , grouped, hands up to bird. 

Nettie. May’s bird. Will you guess its name? 


Bird-song. 

Solo. 

Turn again, my bonnie bride, 

Turn from him thou fearest. 

Leave the unhallowed gray wolf’s side, 

Turn to meet thy dearest. 

In the old wood 
Here he lingers, 

Tainted gold would 
Burn his fingers, 

He’s thy bridegroom, bonnie bride, 

Trust your birds, my bonnie bride. 

[May rises, takes Robin’s hand. 


Chorus — Children. 

Though he’s surly, 

Brown and swarthy, 


hi] THE ROBBER BRIDEGROOM 

Silly girl, he 
Careth for thee, 

He’s the bridegroom, bonnie bride, 
Trust your birds, my bonnie bride! 


[Tableau — Dance — Curtain.] 






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